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EDUCATIONAL  VOCAL  STUDIES 


A  Method  of  Elementary 

Sight-Singing—Graded  Exercises, 

Songs,  Rudiments,  etc. 


BY 


JOHN  D.  BRUNK 

Musical  Editor  "Church  and  Sunday-School  Hymnal." 
Professor  of  Music,  Goshen  College. 


PRICE: 

Single  Copy,  prepaid  .  .  $  .35 
Per  Dozen,  not  prepaid  .  .  3.00 
Per  Hundred,  not  prepaid  .     20.00 

Published  by 
MENNONITE     PUBLISHING    HOUSE 

SCOTTDALE,     PA. 
[Bill  TlfDllDllI 


COPYRIGHT.  1912, 

MENNONITE  PUBLISHING  HOUSE, 

SCOTTDALE,  PA. 


(if) 


PREFACE. 

This  volume  is  an  effort  to  help  the  student  of  vocal  music  to 
a  correct  understanding  of  the  principles  of  Music  from  the  very 
beginning.  It  attempts  to  impart  to  him  an  adequate  method  of 
Tone-thinking  from  which  he  may  become  a  proficient  reader. 
Thoroughness  is  its  aim.  The  large  group  of  exercises  is  indica- 
tive of  the  author's  conviction  that  a  habit  is  not  formed  except  by 
numerous  repetitions.  To  supply  sufficient  materials  for  fixing 
habits  that  are  worth  while  is  the  purpose  of  Part  One, 

Only  such  songs  as  will  make  a  real  contribution  to  the  stu- 
dent have  been  included;  'no  effort  having  been  made  to  find  the 
new  song — but  the  helpful  one. 

The  author  wishes  to  gratefully  acknowledge  credit  to  the 
following:  The  Publishing  Committee  of  the  Mennonite  Publish- 
ing House  for  encouraging  the  preparation  of  this  work  and  for 
many  helpful  suggestions;  Oliver  Ditson  Company,  Boston,  for 
the  use  of  the  Dictionary;  Ginn  and  Company,  Boston,  for  songs 
used  from  "New  Educational  Music  Course";  Silver,  Burdett  and 
Company,  Boston,  for  songs  used  from  "Modern  Music  Course". 
Gratitude  is  also  hereby  expressed  to  personal  friends  who  as 
individuals  have  allowed  the  use  of  their  songs  and  to  all  those 
who  have  promoted  the  work  by  encouraging  words,  helpful 
efforts,  or  sympathetic  support. 

It  is  with  a  sincere  desire  that  this  little  book  may  be  of  valu- 
able assistance  to  every  earnest  student,  who  pursues  it,  that  the 
author  sends  it  forth. 

JOHN  D.  BRUNK. 

Goshen,  Indiana. 

April,  19 1 2. 


(iii) 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

University  of  North  Carolina  at  Chapel  Hil 


http://www.archive.org/details/educationalvocalOObrun 


INTRODUCTION. 


Good  singing  is  one  of  the  attainments  of  earth  perpetuated 
in  heaven.  May  it  not  be  an  allowable  incentive  toward  the 
accomplishment  of  singing  well  the  '  'songs  of  Zion"  here  for  the 
prospect  it  gives  of  singing  perfectly  the  '  'song  of  Moses  and  the 
Lamb"   yonder? 

In  this  age  when  light,  sensational,  spectacular,  demoralizing, 
if  not  sacrilegious  music  is  the  practice,  expectation,  the  "satisfy- 
ing portion"  (?)  of  so  many,  it  is  especially  needful  that  more  than 
ordinary  attention  be  given  to  the  study,  practice  and  cultivation 
of  one  of  the  richest  of  the  divine  endowments  of  man — the  gift  of 
song.  Moreover,  there  is  a  special  demand  for  the  promulgation 
of  good  vocal  music,  seeing  that  musical  instruments  are  not  only 
supplementing  it,  but  virtually  threatening  to  supplant  the  Creator's 
highest  mechanism  of  music — the  human  voice.  The  only  way 
to  maintain  the  true  charm  of  the  human  voice,  attuned  to  melody 
and  expression,  in  our  homes,  in  social  life,  in  our  educational 
institutions,  and  in  our  churches  and  missions,  is  to  wisely  en- 
courage, carefully  guard,  intelligently  foster  and  heartily  support 
every  rightful  move  made  in  the  direction  of  the  advancement  of 
good  singing. 

The  Mennonite  people  are  distinguished  as  a  singing  people.  ' 
The  love  of  song  and  the  practice  of  congregational  singing  in 
their  religious  service  as  well  as  the  use  of  this  unifying  agency  in 
their  social  and  family  circles  is  a  bright  thread  interwoven  in  the 
fabric  of  their  history  from  the  time  of  their  early  life  in  the  moun- 
tains and  valleys  of  Switzerland  and  other  European  countries 

(v) 


down  to  the  present  day,  and  there  is  a  fond  hope  and  a  lingering 
desire  in  the  hearts  of  the  present  generation  that  this  heritage 
may  be  continued;  but  it  is  apparent  that  more  than  ordinary 
effort  will  be  required  to  maintain  and  perpetuate  this  admirable 
characteristic. 

There  is  a  demand  for  a  music  book  that  is  in  its  character 
educational,  practical,  comprehensive,  clean,  consistent,  that  will 
inspire  beautiful  devotional  singing,  and  that  will  also  serve  as  a 
text-book  for  the  pupil  in  the  study  of  vocal  music  and  the  de- 
velopment of  his  musical  talents.  In  preparing  this  work  the 
author  aimed  to  place  into  the  hands  of  the  pupil  such  material  as 
will  help  him  to  secure  true  tone-perception,  to  gain  correct  tone- 
production,  to  cultivate  an  appreciation  of  proper  tone-relationship 
and  to  lead  him  to  recognize  the  highest  ideals  in  vocal  music  and 
assist  him  in  attaining  to  such  a  standard  of  efficiency  in  the  use 
of  his  musical  powers  as  to  make  his  life  of  the  best  service 
possible  in  the  field  of  sacred  song. 

EDUCATIONAL  VOCAL  STUDIES  has  been  written  and 
especially  arranged  for  the  fundamental  work  of  good,  clean,  de- 
votional, and  general  singing,  and  it  bears  the  distinction  of  being 
the  first  work  of  its  kind  published  by  the  sanction  of  the  Publish- 
ing Committee  of  the  Church.  It  is  intended  to  be  used  as  a  text- 
book and  music  reader  in  our  educational  institutions,  church 
singings,  and  in  general  singing-classes. 

My  wish  and  prayer  for  this  little  volume  is  that  it  may  prove 
to  be  a  real  help  to  inspire  good  singing,  enlarge  the  capacity  for 
service  in  song  and  to  lead  men  to  glorify  Him  of  whom  the 
"sweet  singer  of  Israel"  said,  "His  praise  shall  be  continually  in 
my  mouth." 

D.  H.  BENDER. 

Hesston,  Kansas. 
January  13th,  191 2. 


(vi) 


CONTENTS. 

Page 

Part  One 1—67 

Consists  of  Exercises  in  three  grades,  from  the 
very  simplest  for  the  beginner  to  advanced  ones. 
Each  grade  is  prefaced  by  a  table  of  contents 
giving  the  order  of  the  materials.     See  Index. 

Part  Two 68—113 

Songs,  usually  in  four  parts,  graded  from  very 
easy  to  difficult.  Songs  are  classified  according 
to  key. 

Part  Three 114— 137 

A  full  explanation  of  the  Rudiments  of  Music. 
This  part  is  in  twelve  Sections,  each  section 
treating  one  subject,  part  of  a  subject,  or  a 
group  of  small  subjects.  The  Contents  page  at 
the  beginning  of  this  part  will  come  well.  See 
Index. 

Part  Four 138 — 142 

This  Voice  Culture  Department  has  two  kinds  of 
instruction.  One  is  an  explanation  of  the  use  of 
the  voice,  and  the  other  consists  of  exercises 
which  will  be  useful  in  gaining  control  of  the 
voice. 

Part  Five 143 — 152 

A  dictionary  of  the  musical  terms  which  occur 
more  frequently  in  vocal  music. 

Index 153 


(vii) 


Contents  of  Grade  I. 


Simple  one-part  exercises  without  skips,  i  a  to  3  c. 
Rhythmical  exercises  in  double  measure  after  2  d. 
Exercises  with  easy  skips,  3  d  to  12  d. 
Rhythmical  exercises  in  triple  measure  after  5  d. 
Exercises  in  F  Clef  begin,  9  a. 
Key  of  F  introduced,  10  a. 
Rhythmical  exercises  with  rests  after  11  f. 
Exercises  with  wide  skips,  11,  13,  15,  and  16, 
Key  of  G  introduced,  14  a. 


(viii) 


PART    ONE 


GRADED  STUDIES. 


Grade  I. 


References  are  made  to  Rudimentary  Statements  by  Section. 

Note. — These  exercises  are  for  the  study  of  tone-production  and  tone-relationship. 
Practice  them  carefully  with  Iyoo,  or  IyO,  or  Lah  to  each  tone.  Change  the  vowel  fre- 
quently.   Others  may  be  used  occasionally.    Do  not  over  use  or  abuse  the  syllable  names. 


Exercises  under  the  same  numeral  are  alike  in  subject  matter. 
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12  a. 

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12  b. 

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GRADE  I. 


12  c. 


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-A_k «— | 1 *_}_                      _| '     j       |        *    *          J 1 -P e_. 

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13  a.     (Divide  class  into  two  sections.) 
Section  I.  Section  II.  I. 


II. 


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Newton  Ferns. 


Richard  Mant. 

Samuel  Smith. 

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1.  God,  tny  King,  Thy  might  con-fess  -ing,    Ev  -  er     will      I   praise  Thy  name; 

2.  All    Thy  works,  O   Lord,  shall  bless  Thee;  Thee  shall  all  Thy  saints    a  -  dore; 


I 


" B  B 

Day     by    day   Thy  throne  ad-dress-ing,    Still  will      I     Thy  praise  pro-claim. 
King  su-preme  shall  they  con  -  fess  Thee,  And  pro-claim  Thy  sov'reign  pow'r. 


14  a. 

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GRADE  I. 

Thanksgiving  Song. 


13 


Mary  Vaughan. 

,  i       Moderate. 


Mrs.  H.  H.  A.  Beach. 


K  r  I  r_jLj 


=t 


1.  The        ap  -  pies  have  been  gath    -    ered  and   piled   in     rud  -  dy    heaps,       And 

2.  Thanks-giv  -  ing   day     is       com    -     ing,  the   glad  Thanks-giv-ing    day!  We 


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down     a  -  mong  the     grass    -    es      the      pur  -  pie      as  -   ter   sleeps.      We've 
count   the  nights  and    morn  -  ings   that    slow  -  ly     pass      a  -   way.  We'll 


m  r  r  J  r  p^^Frr^^rr^ri 


brought  the   gloss  -  y        chest  -   nuts  from    hill-sides    far     and    near,  And 

sing      a       mer  -  ry      roun-del  -  ay  when     it        at      last      is     here,        When 


H 


53? 


soon      it      will     be        com 
har  -  vests  all     are       gath 


ing,     the    glad    day      of      the      year! 
ered,  and    win  -  ter    days  are      near. 


Contents  of  Grade  II. 

Two-part  singing,  17  a  to  1 8  c. 

Intermediate  tones  introduced,  19  a  and  26  a. 

Rhythmical  exercises  introducing  the  divided  beat,  20  a. 

Key  of  B  P  introduced,  22  a. 

Key  of  D  introduced,  23  a. 

Key  of  E  p.  introduced,  25  a. 

The  triplet  introduced,  27  a. 

The  quarter-beat  introduced,  29  a. 

Exercises  in  the  minor  mode,  31a. 

Key  of  c  introduced,  31a. 

Key  of  b  introduced,  31  e. 

Chord  spelling  for  voice  blending,  32  a. 

Three- part  singing,  32at033d. 

Exercises  in  C  clef  begin,  33  a. 

Key  of  A  introduced,  34  a. 

Difficult  rhythmical  exercise  in  two  parts  introduced,  36  a. 

Staccato  introduced,  37  a. 

Compound  double  measure  introduced,  38  a. 

Difficult  intervals,  41  a  to  41  b. 


(14) 


Grade  II. 


References  are  made  to  Rudimentary  Statements  by  Section. 
17  a. 


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18  EDUCATIONAL  VOCAL  STUDIES. 

19  a.    (J 4)    {Sec.  Eight.) 


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19 


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The   rain      has  spoiled  the  farmer's  day!     Shall  sor  -  row      put  my  books  a- 


-P- 


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way?  There  -  by         are      two   days  lost:     Nature  shall  mind  her  own    af- fairs; 


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I      will   at-tend    my    prop  -  er     cares,  In      rain,    or    sun,     or  frost. 


20  a. 


20  b. 

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23 


24  d.     Andante.     {Sec.  Three.) 


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GRADE  II. 


25 


Good- Morning,  Merry  Sunshine. 


Anonymous. 

Allegro. 


Margaret  Ruthven  Lang. 


p 


§^==3 


1 .  Good-morn-ing,     mer     -     ry        sun      -      shine,  How     did        you   wake      so 

2.  I       nev    -    er       go  to        sleep,     -  dear,         I        just        go    round     to 


:Til2: 


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..„_.     soon?  .„     You've    scared    the        lit     -     tie    .     stars  a    -    way       And 

see-.      .A  "My        lit     — .    tie       ehil  -    dren       of  the     East,     Who 


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shined  ~ja  _-_  way_   the moom 

rise       and  watch  for        me.     . 


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I         wa  -  ken      all         the    birds    and 


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night       Be  -  fore  I  ceased    my        play, 

bees       And     flow    -    ers        on  my        way, 


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back      to       see        the      child  Who     stayed    out      late  —    to        play,    . 


27  a.     (Three  notes  in  the  time  of  two  of  same  kind  form  a  Triplet 


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EDUCATIONAL  VOCAL  STUDIES. 


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Near-er    the  great   white      throne,  Near-er    the  crys    -   tal        sea. 

Used  by  permission. 


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Kate  Brown.     (Words.) 
Andante,  ^ 


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In         the   heart    of        a  seed  Bur  -   ied        deep,     so     deep,       A 

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creep    to      the  light'"  "Wake!"  said  the  voice     Of       the   rain-drop    bright. 


(6"^.  Nine  and  Ten.) 

This  is  an  illustration,  not  a  singing  exercise. 

MAJOR  SCALE. 


1234       5       6717654321 
do     re    mi     fa      so     la      ti     do      ti      la      so      fa     mi     re      do 


MINOR  SCALE,   HARMONIC  FORM. 


-b^i <&      "      gEfe 


12345       6       71        7654321 
la      ti      do     re      mi     fa      si      la      si      fa     mi      re      do      ti      la 


MINOR  SCALE,   MELODIC  FORM. 
Notice  that  the  ascending  and  the  descending  differ. 


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Translated  from  the  German. 

Moderate, 


On  A  Snowy  Day. 


Old  German. 


h  s  r> 


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6* 


1.  Fall  -  ing,     fall  -  irtg,  Fast  the  snow-flakes  fall      On  the  house-tops,  on  the   seas, 

2.  Squir-rels     peep-ing  From  the  hol-low    trees,     Sa- ble  -  coat-ed,  safe  from  harm, 

3.  Fire-light   play-ing  Thro' the     co  -  zy  room,  Makes  our  books  and  toys  and  things 

4.  Tho'ts  of  wand'ring  Thro'  the  wind  and  snows,  Makes  our  bed  so  nice  and  warm, 


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On   the  ponds  and  all  the  trees,  Whirl-ing,  whirl-ing  Round  the  steeple     tall. 
Feel  the  snug-ger  for  the  storm  Sweep-ing,  sweep-ing      O  -  ver  lonesome  leas. 
Dearer  when  the  cold  wind  sings,  Stray-ing,  stray-ing     Out  there  in   the  gloom. 
When  the  chill-y  sad-voiced  storm,  Moaning,  moan-ing   Past  the  chimney  goes. 

From  "Modern  Music  Series."    Silver,  Burdett  &  Co. 

32  a.    (Divide  singers  into  three  groups.     Spell  and  pronounce  the  following  chords. 
This  plan  of  voice  blending  was  first  used  by  Dr.  H.  R.  Palmer.) 

Very  slow.  >  ,  III 


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EDUCATIONAL  VOCAL  STUDIES. 


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GRADE  II. 


35 


The  Wind's  Song. 


i 


M.  A.  L.  Lane. 
;,  a.      Lento. 


Frederick  Kiicken. 


13 fV 


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1.  Soft     blows  the 

2.  Strong  blows  the 


west  -  ern    wind,       Hark       to       the      song     he    sings, 
east  -  ern   wind,   Strange   are       the     tales     he  brings, 


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He        sings    of  oth  -  er      things      Far,        far       a     -     way, 


i 


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Wide      fields     of 
Ships       pass  -  ing 


rip-'ning  grain,        Sun  -  shine     on       hill     and   plain, 
to      and     fro,        Great  white-winged  birds  that     go 


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thirst    for     rain,  Far,         far       a      -     way. 

ebb     and    flow,  Far,         far       a      -     way. 


Both  parts  may  use  the  same  pitch,  or  any  two  that  sound  well  together. 
36  a. 


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EDUCATIONAL  VOCAL  STUDIES. 


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GRADE  II. 


37 


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87  b.     (Staccato— See  Dictionary.) 

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GRADE  II. 


39 


39  d. 


39  e. 


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Up  then  with  speed,  and  work  and  work,  Fling  ease  and  self     a  -  way: 
Up  then  with  speed, and  work, 


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This  is    no      time for  thee   to  sleep,  Up,  watch  and  work,  work  and  pray. 

This  is   no  time  for  thee   to  sleep, 


Pg 


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40 


EDUCATIONAL  VOCAL  STUDIES. 


40  a. 


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41 


40  d. 


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42 


EDUCATIONAL  VOCAL  STUDIES. 


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GRADE  II. 


43 


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bored   heav 
the      God 

(B , H_. 

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of 

— P— 

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God, 

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1               1               1 

Foam   glim-niered 
'Peace!     It          is 

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TT 

• 

Philip  Doddridge. 
mf  Con  spirito. 


Morning  Hymn. 


ffli 


Hiindel. 


F"— ^ 


^^ 


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A    *   g     l] 


1.  A    -   wake,  my   soul,  stretch  ev   -  'ry   nerve     And    press  with    vig  -   or 

2.  'Tis    God's    all  -   an   -    i  -   mat  -  ing  voice     That    calls  thee  from     on 


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on; 
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A  heav'n  -  ly        race      de  -  mands     thy      zeal,       i1 

'Tis  His      own     hand     pre  -  sents      the      prize       To 


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an      im  -  mor  -  tal        crown, 
thine    as  -    pir  -  ing         eye, 


And         an      im  -  mor  -  tal    crown. 
To        thine    as    -    pir  -  ing     eye. 


EE 


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— ^  ■ — A- 


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Contents  of  Grade  III. 


Four-part  singing,  42  a  to  42  d. 

Key  of  E  introduced,  42  b. 

Drills  in  j:empo,  43  a  to  43  c. 

Rhythmical  exercises  in  the  compound  measures,  44  a. 

Key  of  A  j?  introduced,  45  a. 

Key  of  D  V  introduced,  46  b. 

Exercises  with  change  of  measure,  47  a  to  48  f. 

Key  of  F$  introduced,  48  c. 

Double  sharp  used,  48  d  to  48  f . 

Double  flat  used,  49  a. 

Exercises  with  change  of  key,  51  a  to  52  c. 

Exercises  with  change  of  tempo  and  expression,  52  b  to  52  c. 

Difficult  rhythmical  exercises  in  three-parts  introduced,  53  a. 

Special  exercise  in  dynamics,  54,  58,  and  59. 

Exercise  in  rapid  passages,  55  a  to  55  c,  57,  58,  and  59. 

Key  of  B  introduced,  55  a. 

Key  of  G  V  introduced,  56  b. 


(44) 


Grade  III. 


References  are  made  to  Rudimentary  Statements  by  Section. 
42  a. 


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46 


EDUCATIONAL  VOCAL  STUDIES. 


42  c. 

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42  d. 


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43  a.    ^ 

n^      1 

ndante. 

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GRADE  ill. 


47 


43  b.    Moderate 


C\'^  O                  !                       aoil                                   A         "*           i              1                       Ar-- 

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43  c.     Allegro. 

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44  a. 


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v   *  0  0  0   00«0>   0  0  ««(«  0  0*   0000  0   000000  0  0  0  0   0000* 


44  b. 

e  I  m  m  |i    mihj   hNii       I  01  mil    bmij 

g      0«      0>      0000   0         0«   000     0   0      00      >0<      0«      000000     0      0000     <$?  • 


44  c 

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44  d. 

9      ,     ,     -  |  rn-   -^   rpi  ,    kj    k     M   ~H   I    bL|  I    fTI,.|   TV  I    b|  : 

V       0*0*  0*    000000000    0    00    00    0       0000    00     I    0.000^       000^    0    0       0.0.0. 


44  e. 

19  I     p-T-n       P"™Fn!1       p=^=i      im  i-l  mil     |  I     '  h    I  h    I  h    '  hi 

gJ0«0«0«0«0,00l000000000       0«0»0«0«0      00      00      00       0 

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1    mi    1   j)ii    ,    rru    1  1    b!     mx    1 

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m 


Soi,o. 


EDUCATIONAL  VOCAL  STUDIES. 

Sleep,  Baby,  Sleep. 


J.  D.  B. 


m 


2r 


^3 


ga 


1.  Sleep, 
Chords. 


ba 


by,        sleep! 


Thy       fath    -    er   watch  -  es      his 


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moth-er     is   shak-ing  the   dream  - 

i 

land 

tree,          And 

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3 


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2  Sleep,  baby,  sleep!  The  large  stars  are  the  sheep!     by  John  D.  Brunk. 

The  little  stars  are  the  lambs,  I  guess, 
And  the  gentle  moon  is  the  shepherdess. 
Sleep,  baby,  sleep! 

3  Sleep,  baby,   sleep!    Our  Saviour  loves  His  sheep; 

He  is  the  Lamb  of  God  on  High, 
Who  for  our  sakes  came  down  to  die. 
Sleep,  baby,  sleep! 


GRADE  III. 


49 


45  a.     {Sec.  Three. ) 


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45  b. 


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50 


EDUCATIONAL  VOCAL  STUDIES. 

At  Sunset 


John  G.  Watts. 
Adagio. 


Frederic  Field  Bullard. 


m 


rag  J^ 


-P^ 


* —-T 


1.  Soft    -    ly   sighs  the     eve-ning  breeze,   Thro' the   leaf-  y       chest-nut  trees; 

2.  Flow  'rs  that  when  the    sun       a  -  rose      Ope'd  to     life,  now     soft-  ly    close; 


=n 


te 


3t3= 


-^— 


Lit    -    tie   birds  from  rock-ing  spray,     Sing  their  hymns  to   part  -  ing   day. 
As         a      lit    -    tie   bird      at    rest,       Ba    -    by  sleeps  on  moth-er's  breast. 

46  a. 


m 


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46  b. 


te 


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# 


GRADE  III. 


51 


46  c. 

k  1 

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38 

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46(1. 


g  *  <■  wl-^-u 


F-#-s 


pgj  §  <j  g=E 


3~g     L±3Z* 


te   ^,r~^: 


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^ 


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Robert  Louis  Stevenson. 

Allegro. 


The    Swing. 


M.  White. 


^ 


-♦^ — »  *     »  * 


-A-i — A-i — A-r 


te 


£ 


5^ 


1. 

How 

do 

you      like 

to 

go 

up 

in 

a 

swing, 

2. 

Till 

I 

look   down 

on 

the 

gar  - 

den 

so 

green, 

S^ 


3£ 


» 


Up 

in 

the 

air 

so 

blue?  .     . 

Oh! 

I 

do    think 

it 

the 

Down 

on 

the 

roof 

so 

brown — 

Up 

in 

the      air 

I 

go 

1    Q,bU    r                     -  — ■         — i 

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Ev 

•   er 

a 

child 

can 

do. 

fly  - 

ing 

a  -   gain, 

Up 

in 

the 

air 

and 

down 

I 


te 


Refrain. 


55 


£ 


3=— £ 


V- 


Up      in     the    air       and       o  -  ver    the   wall,         Till      I      can     see 


fr 


B 


it 


wide, 


Riv   -  ers      and       trees      and       cat   -   tie      and      all, 


te 


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2=£ 


1 


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O  -  ver   the    coun-try      side      .  O  -  ver  the  coun  -  try      side. 

From  "New  Educational  Music  Course."    Ginn  &  Co. 


52 


EDUCATIONAL  VOCAL  STUDIES. 


47  a. 


3  1  I  !     I     I  1 2    |      I  I  '  i  3    !     |     i  I  |     !     |  I  |     i     i  II 

4  s   e   e     e   s    o  \  j.  e    @   \e    e   \a    «   .a    e  I  j.  e   0   «   \«   0   e    c    c   o    <s>  • 

I     J    II      I      114    |  J  J  j  .11  J  J  J  13  J      I      ill 


47  b. 


3 

4.    0    e    a   \&     0 

47  c. 


H 


I 


2 


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47  d. 


|! J   J   J 


I      I      114     I      |      |      |     I     |      |    J      ||2      I      I     I     I      I     I     |    J     M 

000l±0000        \     0       «       0       0     I    4.       0       9        \     0       0        \     0       0        \     G 

48  a. 


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£^= 


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GRADE  III. 


53 


y. 


48  c. 


ffi 


& 


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^— #- 


#— (•- 


b£ 


-^4$M  r  r  ^  tim— ?  p  r   k  ^  ^ — 1  J  J  -  j  i  -1 — 

-eh  *  t  I   i   i    -I P— f-  i   i    r  f  p  -    *  *   J  *  ^— ^ — 

-U. 


48  d.     {Sec.  Eight.) 


IS 


3 

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£ 


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4 A- 


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48  e. 


Pife 


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54 


EDUCATIONAL  VOCAL  STUDIES. 

I  Love  the  Cheerful  Summer-Time. 


m 


Allegro  moderate 


g^=E 


3^ 


:*=- 


1.  I      love   the  cheer-ful    sum-mer-time  With    all      its  birds  and  flow'rs,  The 

2.  I      love     to    hear  the      lit  -  tie  birds  That    sing    a-mongthe   trees,        I 

3.  I      love   the  bright  and   glo-rious  sun  That   gives  us   light  and   heat,         I 


is 


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1   —J        !                1                1 

grass 

love 

love 

0     \  i 

-  y      lawn    be  -  neath  my    feet,    The        cool,  re-  fresh-ing   show'rs. 
the     gen  -  tie  murm'ring  stream,  I           love  the     eve-ning   breeze, 
the    pearl -y     drops    of     dew   That       spark-le 'neath   my        feet. 

>i"li 

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49  a. 


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, 

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GRADE  III. 


55 


49  c.    Lento. 


m 


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56 


EDUCATIONAL  VOCAL  STUDIES. 


50  c. 


A* 


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4= 


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fc± 


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»      » 


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Fielding      (Words.) 


£3 


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Wine   is   a  turn  -  coat,  a   turn  -  coat,  a   turn  -  coat; 


P 


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First    a  friend, 

-M  .        Al        aI 


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then,    and  then,     and  then,     and  then,  an 
and  then,     and  then, 


■* — p— 


GRADE  III 


57 


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51  a. 


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58 


EDUCATIONAL  VOCAL  STUDIES. 


51  e. 


S 


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52  b.     Allegro.     (Sec.  Five.) 

P.  S-,  i £ 


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GRADE  III. 


59 


i 


52  c. 


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60  EDUCATIONAL  VOCAL  STUDIES. 

52  d.     Choral. 


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53  a.     Sing  either  in  chord  or  same  pitch. 


(so) 


2  /(mi)f    r  r 


(do) 


Iff 


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GRADE  III. 


61 


53  d. 

(mi)JJjj 

|  <j<s°)  f  f  f  f 


53  e. 

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3  /(mi)f    •     i 
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62 


EDUCATIONAL  VOCAL  STUDIES. 


fc* 


54.     Moderate, 
f  , 


s 


(5"^.  Eleven.) 

4>- 


J.  D.  B. 


ffi=£ 


For 


te 


Stac  -  ca     -    to 


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/? 


/ 


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% 


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then  For  -  zan 


ga   -  to 


and   Pi  -  a 


do. 


3 

For- 


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-23- 
zan 


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do. 


ffF=I 


Pi  -  an    -   is   -   si  -mo, 

A ^J A 


Pi 


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an  -    is    -    si  -  mo, 


±=££ 


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Pi  -  an    -    is  -  is  -  is  -  si  -  mo, 

—0-i — 9 — i — 9—. — 9- 


Pi 


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Mez  -  zo    and  For  -  te,        Sem-i    stac  -  ca 


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For  -  te,    For  -  tis  -  si-mo, 

I 
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Copyright.  1912.  by  John  D.  Brunk. 


GRADE  III. 


63 


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i 


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A 


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55  b.     Andante. 


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?:-: 


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Hf-  i ' ■ A A A «J -f=^ 1 d b m 1      — 

w  *     « -       -m-  _  -w- 


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64  EDUCATIONAL  VOCAL  STUDIES. 

55  C.     Mozart. 


s§ 


5^ 


h  ♦  -  • 


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56  a. 


— TT— i l_j S — a 1 c=3 


3 


at-**- 


r  r  r  *a  r  r  r  r  r  f  f3  r?  ^  V 


7F. 


56  b.    Andante  religioso. 


B± 


3S 


tet 


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0     4-   A    --L         i         A         A A 


zSd —  I  — r 


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zrfe 


57. 

Wm.  Allingham. 
P  Leggier o. 


GRADE  III. 

Spring  Is  Come. 


65 


J.  M.  McLaughlin. 


ft± 


feE 


m 


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' 


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1.  Ye     coax  the  tim  -  id     ver-dure        A  -  long  the  hills  of         spring,         Blue 

2.  The   gav,  trans-lu-cent  morn-ing        Lies  glitt'ring  on    the      sea,     .     .     The 

P 


S4=* 


4 


3 


s^ 


© 


1.  Ye    coax  the     ver      ■     dure 

2.  The  gay,  gay  morn     -    ing 


A  -  long  the    hills  of  spring, 
Ivies  glitt'ring  on     the  sea, 


I 


£=£ 


s 


~- 


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u 


skies  .     .     and  gen-tle  breez-es,         And  soft 
noon      -       day  sprinkles  shadows         A-thwart 


clouds  wan  -  der-ing!  The 
the      dai  -  sied  lea;  The 


^^    ^^- 


£BE3=fe53E£33 


3 


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^= 


Blue  skies  and  gen-tle  breezes, 
The  noon-day  sprinkles  shadows 


And  soft  clouds  wan-der-ing! 
A-thwart  the   dai  -  sied  lea; 


P 


n 


=FT 


S 


mm 


-p-» 


B= 


choir    of  birds  on    bud -ding  spray,  L/Oud  larks  in     e-  ther      sing;     .     .  A 

round  sun's  sinking  scar  -    let  rim      In       va  -  por  hid  -  eth      he;     .     .     .       The 


i 


& 


fr-b-3- 


m 


The  birds  on     bud  -  ding  spray, 
The  round  sun's  scar -let   rim 


Ivoud  larks  in       e    -    ther  sing; 
In     va  -  por     hid  -  eth    he; 


m 


/ 


fit 


m 


s 


■A-*- 


m 


♦  -.- 


fresh  -  er  pulse,  a      wid  -    er   day  Give     joy        to    ev  -   'ry  thing, 

dark  -  ling  hours  are  cool    and  dim,  As      ver  -  nal  night  should     be. 


1 


d2 


/ 


fit. 


*l — *-^W— i=^: 


« 


From  "New  Educational  Music  Course."    Ginn  &  Co. 


¥ 


66 


EDUCATIONAL  VOCAL  STUDIES. 


58*  Music  Everywhere. 

M.  L.  Baum. 

Con  moto  di  schottisch. 

mp  — ~==Z 


^4 


# 


M.  White. 


m 


e* 


& 


* 


# 


1.  There 

2.  There 


mu 
sing 


sic 
ing 


the     breeze, 
the       sea, 


It 
In 


the 


=fe=fc 


ST r- 


"F 


£ 


P^ 


SE 


SS 


*=fc 


sing  -  ing  thro'  the   trees,         Do     you      hear         it? 
brook-let    run- ning  free,         On   -  ly  lis    -     ten! 


Do      50U 

On   -  ly 


-cr ^-. — *P — *-* — * **- 


:d2: 


Do     you    hear        it? 
On  -  ly       lis     -     ten! 


mP 


-p-r 


m 


-*-s- 


{t=feL 


hear 

lis 


it? 
ten! 


O 

The 
mP 


hark!  it        is  sound -ing   ev  -  'ry- 

birds'         hap  -  py  sing  -  ing,  too,     we 


^ 


-p-m- 


-±  — 


*  -.- 


▲   , 


V 


E^g^P 


Do     you  hear  it?      O      hear     it  sound -ing  ev  -  'ry-where, 

On  -  ly     lis      -     ten!  The    song    of    hap  -  py  birds   we   hear, 


=5=^==fr 


3=3$=X 


where, 
hear, 


O  hear!  it         is     fill    -  ing  all      the 

The  song  of       the  rain-drops  call  -  ing 


lim 


tee — fr 


* 


£ 


^^ 


^=£ 


sound-ing   ev  -  'ry-where,        O  hear      it     fill  -  ing    all     the    air, 

song     of   hap  -  py  birds,  The         song     of   rain-drops  call  -  ing  clear, 

From  "New  Educational  Music  Course."     Ginn  &  Co, 


GRADE  III. 

— =r   mf 


67 


air. 
clear; 


and 


l^r^ 


rings, 
night 


it 
with. 


fill       -       ing       the      air. 
rain  call  -  ing    clear; 


Sing    -     ing       and      ring     -     ing, 
Night,       sil    -    ver      night,       with 


I 


pin  forte. 


A-iU 


& 


swings,  It  brings         ev  -  'ry    one      a    word    of 

light  Oft  plays         on      her  harp    of      for  -  est 

piii \  forte. 


V     h    -fr- 


hear     it,  hear     it     sing, 
fin  -  gers,  fin  -gers  light 


Bear 
Plays 


ing 


us 
harp 


a 

of 


mp 


£=fc 


fc 


Jjr 


& 


joy- 

leaves. 


3tn 


Then 
Then 


hear    the  win-ning  word 
learn     to   sing  with    ev 
m  P 


it 
'ry- 


^ 


mes       -      sage     of    joy. 
leaves,        harp    of  leaves. 


Hear 
L,earn 


the 
to 


word 
sing, 


that      it 
learn    to 


.±=51 


dim . 


-> 


=f*- 


+2=^=^2: 


P 


1 


brings, 
thing, 


And 
And 


an 
light 
din 


-    swer,  ev  -  'ry    girl     and       boy. 

-    en  ev  -   'ry  heart  that  grieves. 


I 


>      *i       frJ- 


E)     b      fa     k 


-^-v- 


*-*- 


-53)-!- 


brings, 
sing,     . 


An         -        swer,  ev  -  'ry     girl    and        boy. 
Iyight       -       en  ~~ev  -  'ry   heart  that    grieves. 


Analytic  Index  to  Part  Two. 

Not  all  the  songs  of  Part  Two  are  listed  in  this  index.     Only  a  few  examples  of  each 
subject  have  been  chosen. 

Choral 85,  101,  112'-^,  113 

Compound  Measure. 72(.t),  I022(.8.)>  IIO(§) 

D.  C 106 

Dotted-eighth  and  Sixteenth 83,  84,  042 

Dotted-quajter. 79,  82,  96s,    108 

Double  Measure 70,  76,  78,  85 

D.  S.. 71 

Double  Sharp 98 

Expression,  Stud}-  of 72s,  86,  90,  1122 

Half-beat 74,  78,  82,  89,  99,  101 

Independence  of  Voices 74,  78,  82,  86,  1 13     , 

Intermediate  Tones 72,  87s,  101,  109,  113 

Key  of  A,   Major. 97 — 99 

Key  of  a,  Minor 110,  1 1 1 

Key  of  Av,  Major 102 — 105  . 

Key  of  b,  Minor 113 

Key  of  B  t>,  Major 87,  88 

Key  of  C,  Major 69  —76 

Key  of  D,  Major 89—92 

Key  of  d,  Minor 1 12 

Key  of  DP  Major 106—108 

Key  of  E,  Major 100,  101 

Key  of  E  \>,  Major 94—  96 

Key  of  F,  Major 76—82 

Key  of  G,  Major .    83—86 

Key  of  g,  Minor 112'2 

Key  of  G  t>,  Major , . .  . . -. .    109 

Ladies'  Voices. . . . .    80 

Men's  Voices. 88 

Quadruple  Measure 72,  74,  79,  100,  102 

Onarter-beat 76,  96^,  105 

Repeat 78,  105 

Rests 78,  79,  87,  in 

Songs  with  Minor  Phrases 92,  101,  106 

Study  of  Tone-color 86,  872,  105,  109,  no,  1122 

Syncopation 86,  104 

Triple  Measure. 69,  71 

Triplets 902,  92 

(68) 


PART    TWO 


GRADED  SONGS. 


Speak  Gently. 


J.  S.  Wilcoxsin 

J.  H.  Hall. 

V   '7 

JL  '» 

a        J          ! 

I 

i            1             1 

im    1      a 

2 

^ 

"fl           0 

vjj  4-    J 

^      s 

*         J          ! 

3       ^3       ^ 

4J- 

• 

t£^ 

-1 

•        w        • 

1 .   Speak  gen 

tly 

to 

him    who 

in       er  - 

ror 

vou 

see, 

You 

know  not  how 

2.   vSpeak  gen 

tly 

to 

oth  -  ers 

and     do 

not 

for  - 

get 

Thy 

broth  -  er    may 

3.   Speak  gen 

tly; 

his 

moth  -  er 

is     striv 

-ing 

to 

win, 

His 

fa  -  ther    is 

-A-         -A- 

-A- 

-A- 

-A-        -A- 

r\*  '1    1 

1          1          1 

1              |              0 

m 

0 

0 

f> 

0 

0        p        0 

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S     4      W 

A 

A 

▲ 

A.             A 

A 

1               ! 

|/A 

A 

4"     i 

Til 

1 

i 

1 

1 

1 

I 

[ 

!       !       1 

-y- 

| 

1 1 1 1 

1           !           1 

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| 

J 

irn               a 

1                     J 

a         eti 

a 

\>.)        J         5 

^ 

^               ^S               M 

-fi- 

-Ah 

V 

-1 

■■-A 

-Ah          -Ah 

-Ah 

great  the 

temp 

-  ta  - 

tion 

mav 

be; 

You   know    not 

the 

ef  -  fort, 

how 

turn  from 

his 

sin 

•  ful  - 

ness 

yet; 

Al  -  though  he 

has 

stum-bled 

and 

try    -  ing 

-A- 

to 

-A- 

lead 

him 

from 

sin; 

Re  -  mem  -  ber 

^A-           -A           -A- 

\our  - 

-A- 

self     and 
-A-        -*- 

how 

6"V 

$ 

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0 

fJ 

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r 

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A               A 

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A 

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1 

1                  1 

1 

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n 

1             1 

y          i         i 

II 

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a!       J         !    1              !       J 

A             II 

/rW         !         i         ! 

d           m          a 

w       % 

m 

i           g 

n 

V4> 

^ 

i         i 

N           H           ■« 

•            ^       !      XI            "* 

ci 

*- 

-?~ 

•#      V . 

-~ 

V 

ear 

-  nest  and 

well, 

Till    yield  -  ing    to     weak-ness 

he 

stum  bled 

and 

fell. 

fall 

-  en    from 

grace 

Have  pa-tience  and  help  him 

to 

win     in 

the 

race. 

sin 

-  ful    you 

be, 

And   deal    with  the      er  -  ring 

as 

God  deals 

with 

thee. 

-A-          -A-        -A-        -A-          -A-        -A- 

-A- 

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(69) 


70 


Cheerful  Faces. 


|          | 

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E. 

T.  Hildebrand 

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2.  When 

-A- 

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come  with  cheer- ful 
gaze    on     cheer- ful 

fa 
fa 

-A- 

■  ces, 
-  ces, 

-A- 

3eam-ing  i 
Tho'  my 

-A- 

•                               1 

nirth  and   mer 
spir  -  it     may 

-A-           9 

1               1 

-  ry     glee; 
be      sad, 

"u"        ° 

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•  ces,  None  are    half 
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row, 
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Joy   from  some  the  heart  may   bor  -  row,     O,      a      smil  -  ing    face  for      me. 
There  are   man  -  y    worth   be  -  liev  -  ing,    O,      a      smil  -  ing    face  for       me. 


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Beautiful  Flowers. 


71 


Arr.  by  F.  E. 

R. 

Fred  A. 

Fillmore. 

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ti 

•  ful    fiow'rs, 

beau 

•  ti  - 

ful 

low'rs, 

Born 

of 

the     sun  - 

shine  and 

2.   Beau  - 

ti 

•  ful    fiow'rs, 

beau 

-  ti  - 

ful 

low'rs,   Breath 

-ing 

of     heav 

-  en    when 

3.   Beau  - 

ti 

-  ful    fiow'rs, 

beau 

ti  - 

ful 

low'rs,    Bloom 

ing 

to  bright 

-  en     our 

4.   Beau  - 

ti 

-  ful    fiow'rs, 

-*- 

beau 

•  ti  - 

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1 

(low'rs,    Yours 

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gen  -  tie  spring  show'rs;    Beau  -  ti    -    ful     fiow'rs,      beau  -  ti    -    ful     fiow'rs, 
faint -ing     we         lie;  Beau  -  ti    -    ful     fiow'rs,      beau  -  ti    -    ful     fiow'rs, 

sad,    lone  -  ly      hours;       Beau  -  ti    -   ful     fiow'rs,      beau  -  ti    -   ful      fiow'rs, 


heav  -  en 


bove;        Beau  -  ti    -    ful     fiow'rs,      beau  -  ti    -    ful     fiow'rs, 


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D.  S. — Beau  -  It   -  ful   flow'rs,      beau  -  ti  -  ful  fiow'rs, 

Fine.       Refrain. 


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Giy  -  ing 

Lift  -  ing 
Teach-ing 
Teach  us 

your  fra-grance  thro'  long  sum-mer  hours.    B 
our  hearts   to       the    Giv  -  er      on     high. 

us    faith  when  the  dark  storm-cloud  low'rs. 

to     trust    in      our    Fa-ther's  great  love.      I 

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Teach     us      to     trust    in     our    Fa-ther"1  s  great  love! 


D.  S. 


1 


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beau  -  ti   -    ful     fiow'rs,      Sent  from  heav  -  en       a    -   bove. 

beau  -  ti   -    ful     fiow'rs,    Yours  is      a     mes-sage  from  heav  -  en       a    -   bove. 


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72 


Upward  Look. 


ILa _J      I     |     J  I  ,  I       J=3    I      ,      ■  = 


B.  C.  Unseld. 


^S=l-d-± 


1.  Is     the  way  he  -    fore    you  Fraught  with  doubts  and  fears  ?      Do  you  grope  in 

2.  Is  your  spir  -  it       wear  -    y  Of   the  earth-ly     strife,       Long-ing,    ev  -  er 

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dark  -  ness,  Blind  -  ed       by     your    tears?         Up  -  ward  look!  there's  brightness 
long    -  ing      For        a     peace  -  ful      life?  Up  -  ward  look!  there's  glad-ness 


Shin -ing  from  a  -  bove,      All  who  will  may  share     it;     Ope  your  heart  to   love. 
Beam-ing  from  a  -  bove,      All  who  will  may  share     it;     Ope  your  heart  to   love. 


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Sweet  and  Low. 


Tennyson. 

VP  Larshetio. 


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Barnby. 


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Sweet     and  low,    sweet     and  low,    Wind    of      the       west    -     ern        sea, 
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Soft  the  Evening  Falls.     (Canon.) 


Beethoven. 


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For     soft   the  eve  -  ning 


75 


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76 


A.  S.  Kieffer. 


Lovely  May. 


B.  C.  Unseld. 


m  ? 1  tfwm 


& 


1.  Love  -  ly      May, 

2.  Hap  -  py     May, 

3.  Balm  -  y      May, 


mer  -ry,  mer  -ry  May!  Bird  -  lets  now  are 
mer-ry,  mer -ry  May!  With  our  songs  we 
mer -ry,  mer  -  ry  May!     How      we     love    thy 


sing  -  mgi 
greet  thee; 
glad  -  ness; 

I  I 


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Ev   -  'ry  -  where, 
On       the     hill, 
Buds  and  flow'rs, 

•         •         • 

thro'  the  balm  -  y       air,      Songs    of    pleas  -  ure 
by     the   shin  -  ing    rill,      Now     we     wel  -  come 
thro'  the    sun  -  ny   hours,    Ope   their  scent  -  ed 

•          »          •           0           9                "I4-           •           "A"             P 

ring! 
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Wel-come,  wel -come,  love-ly   May, 


Mer  -  rv,  mer-rv  Mav,    mer  -  rj-,  mer-ry  May; 

6  E  6  6 


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O  Gentle  Saviour. 


T.  R.  Birks. 

Arthur  S 

.  Sullivan. 

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And 


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bring 


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safe    -    ly 


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National  Song  of  Praise. 


Palmer  Harlsough 

. 

, 

J.  H.  Fillmore. 

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to    God, 
to    God, 
to    God, 

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His  guid  -  ing  hand, 
His  truth  and  light, 

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He 

hath  placed  thy  bounds  so  free, 

Child   of     His      un  -  ceas  -  ing  care, 

Prais 

-  es     give,      O     Na  -  tive  L,and; 

Thy    sup -port    His  Word  shall  be, 

Thy 

de  -  fense  the  strength  of  right; 

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He    hath  sown  the   ver  ■ 

dant  plain, 

He     hath    led    thro' whelming  flood, 

Guid  -  ed     He     thro'    fi   - 

ery   flame, 

Sing    to     Him  with  thank-ful   voice, 

Fol  -  low  Him      in  coun 

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He  hath  formed  the  roll  -  ing  deep, 
He  hath  fixed  thy  bor  -  ders  good, 
Thus,    0    L/and    be-loved,  re-joice 

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blest  thy  hon  -  ored  name, 
a     -    ges  shall    en  -  dure. 


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Copyright,  1899,  by  Fillmore  Bros. 


78 


Spring  is  Here. 


J.  H.  Fillmore. 


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1.  Balm  -  y    south-em  breez 

2.  Ten  -  der  rays     of      sun 


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Chase   the      sul  -  len     snow  clouds  To     the    north  -  ern  lands     a    -    way; 
Bring -ing  shades  of      light    and     dark  With     ev   -    er   chang-ing    hours; 


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Blos-soms    in      the     or 


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chard —     Birds   and  bees    ap  -  pear- 


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Thro'  the  woods  and   val  -  leys,  Flow     -     ing  deep  and     clear, 

Bios      -      soms  in      the     or-chard — Birds        and  bees    ap  -  pear, 


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79 


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ture      bids       us 

soft 
all 

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re  - 

sing- 
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-  That  spring 

-  That  spring 

is 
is 

here, 
here. 

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Crown  Him  Lord  of  All. 


Edward  Perronet. 


*  Small  notes  second  time. 


J.  D.  Brunk. 


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1.  All    hail  the  povv'r  of     Je-sus' 

2.  l^et   ev  -  'rv   kin  -  dred,  ev  -  'rv 

3.  Oh,  that  with  j-on-der   sa-cred 


name!  Let   an -gels  prostrate  fall;  Bring 
tribe,  On  this   ter  -  res- trial  ball,     To 
throng  We   at    His  feet  may  fall!  We'll 


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roy  -  al  di  -  a-dem,  And  crow 
maj  -  es  -  ty  as-eribe,  And  crow 
ev  -  er  -last-ing  song,  And  crow 

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n  Him  Lord  of  all. 
n  Him  Lord  of  all. 
n  Him  Lord  of  all. 
I 


Crown  Him,   crown  Him, 


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Crown  Him  Lord  of  all;  Hail       Him!       Hail   Him!  And  crown  Him  Lord  of  all. 

All  hail  the  pow'r  of  Jesus'  name, 

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D.  I.  Suter. 

Gently,     m 

41 


Good-Night. 

(LADIES'  VOICES.) 


J.  D.  Brunk. 


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s=i  n     l  a 


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night; 


I  P 

Sweet  -  est    com  -  forts    may      they    lend     you,  Fare     thee 


3r-*l=3i 


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well,        to     -     night, 


Fare       thee     well,        to     -     night.     . 


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Peace    -     ful  slum     -      bers, 

Peace  -  ful 


Peace  -  ful    slum    -    bers, 


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Peace     -      ful 


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Peace -ful  slum -bers,  care   will    ban-  ish     Till     the    morn-ing      light. 


i 


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Used  by  permission  of  author 


81 


dolce. 


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Dream  sweet  dreams, 


Dream       sweet  dreams,  .  .        L,et 


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to  -  night. 

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good    -    night,        good    -    night,      Fare      thee      well,     good    -    night, 


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32 


Andante. 


i 


O  Love  Divine. 


X-^A 


Arranged  from  Mendelssohn 
by  Theo.  F.  Seward. 


^ 


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3     ♦ 


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O     Love      di    -  vine,      that  stooped     to   share  Our  sharp    -  est     pang,        our 


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On  Thee 


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smile        at       pain      while   Thou     art      near,   Tho'    long-      the         wear  -  y 
We  smile  Tho' long  the 


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we     tread,    And     sor     -     row       crown     each  lin 
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No    path       we      shun,  no    dark-ness  dread,    O      Love     Di  -  vine,     while 
No  path  O  Love 


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while  Thou  art  near,  while  Thou   art        near. 


While  Thou  art  near, 

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"Almost." 


J.  W.  Wayland. 

ii    Persuasively. 

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Holsingcr. 

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Come,  friend,  to    -  day! 
But  still   not      free! 

But     doomed  to       die! 


Hear  now  the  Saviour's  voice,  O  make  Him 
O  friend,  give  Christ  your  hand,  He  will  loose 
O      friend,  turn  not        a  -  way!  Death     on    -  ly 


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now  your  choice;  How    will 

your  heart   re  -  joice 

In 

Je  -  sus' 

love! 

ev  -    'ry   band,    Lead     you 

in   -   to    that  land 

Of 

end  -  less 

day! 

says  "De-lay!"  Christ  calls, 

"0     come    to  -  day, 

Come, 

come    to 

Me!" 

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Copyright,  1906,  by  Geo.  B.  Holsinger.    Used  by  permission. 


84 


Twilight  is  Stealing. 


A.  S.  Kieffer. 


B.  C.  Unseld. 


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1.  Twi-  light  is  steal-ing   O  -  ver  the  sea,  Shad-ows  are  fall -ing  Dark  on  the  lea; 

2.  Voi  -  ces    of  loved  ones, Songs  of  the  past!  Still  linger 'round  me,  While  life  shall  last; 

3.  Come  in  the  twidight,  Come, come  to  me!  Bringing  some  message,  O-ver  the  sea, 


f=S 


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Borne  on  the  night-winds,  Voi  -  ces  of  yore,  Come  from  the  far  -  off  shore. 
Lone  -  ly  I  wan  -  der,  Sad  -  ly  I  roam,  Seek  -  ing  that  far  -  off  home. 
Cheer-ing  my  path -way,  While  here  I  roam,     Seek  -  ing  that  far  -  off    home. 


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Far     a  -  way    be-yond  the  star-lit  skies,  Where  the  love-light  never,  nev-er  dies, 

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Gleam  -  eth   a   man  -  sion  filled  with  de- light,  Sweet,  happy  home  so    bright. 


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Anew  We  Lift  Our  Song. 


85 


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1.  A    -  new      we        lift       our     song,     In       stir    -  ring  strains  'tis      well- 

2.  For  Right   and    Light    we      sing,    And     Peace  and    Love       we       cher- 


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ing,   From 
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ev    -  'ry  lip      and     tongue,   Of  high  -  er  du    -    ties 

Truth      a    -     lone     be        King!   May        lies       and      dark  -  ness 


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claim     it        to       the    skies     In      ev 


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might,  Till 

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world   re  -  sounds  The   praise    of    Right   and    Light! 
world   re  -  sounds  The   praise    of    Right   and    Light! 


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Lo,  How  a  Rose  E'er  Blooming. 


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2.  I      -     sa  -  iah  'twas  fore -told 


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it,       The        Rose  I      have   in    mind; 

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men    of 
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Let  It  Pass. 


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1.  Be     not  swift  to  take  of-fense,  Let    it     pass,  Let  it    pass; 

2.  Ech  -  o     not    an    an -gry  word,  Let    it     pass,  Let  it    pass; 

3.  Grace  will  conquer  ev  -  'ry   foe,  Let    it     pass,  Let  it    pass; 

Let  it  pass,  Let  it  pass; 

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Think  how  oft-en  you  have  erred,  Let  it    pass,  Let  it  pass. 

Do      the  right  and  on-ward  go,    Let  it    pass,  Let  it  pass. 

Let  it  pass,                      Let  it  pass. 


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Softly  Fades  the  Twilight  Ray. 

Samuel  F.  Smilh.  I.  M.  Goltschalk. 


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1.  Soft    -    ly     fades  the   twi  -  light  ray  Of      the  ho    -    ly    Sab-  bath   day, 

2.  Night   her   sol  -  emu  man  -  tie  spreads  O'er   the  earth    as    day-  light  fades; 

3.  Peace      is     on        the  world    a  -  broad;     'Tis    the  ho    -    ly  peace    of        God — 

4.  Sav  -    iour,  may    our    Sab-baths  be        Days     of  peace  and  joy      in      Thee, 

aK  i       C—  a  -w-  ^v 


Gen    -  tly      as 
All     things  tell 
Sym  -  bol      of 
Till        in 


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life's  set  -  ting   sun, 
of    calm   re  -  pose 
the  peace  with  -  in, 
heav'n  our  souls  re  -  pose, 

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When  -the  Christian's  course  is 
At  the   ho    -    ly    Sab-bath's 

When    the  spir   -  it    rests  from 
Where  the  Sab  -  bath  ne'er  shall 


run. 
close, 
sin. 
close. 


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A  Dream  at  Eventide. 


T.  C.  Harper. 


(MEN'S  VOICES.) 


T.  C.  H.  and  J.  Owen  Long. 


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1.  I         sit        a  -  lone     at      e   -   ven-tide  And  dream  of  days      of 

2.  O      hap-  py   days,  come  back  to    me    With   all     thy  joy      and 

3.  Gone  are    the  days     of  youth  and  love,  The  friends  of  long     a   - 


yore, 
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back   my  love  from   o'er    the   sea      To    cheer   my  heart   to    -    night.  A- 

iu        the  home   of      bliss      a -bove  We'll  meet     a-  gain,     I         know:        Till 


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sit      and  dream  the   hours     a  -  way      In         si  -  lence  and       a      -     lone, 
mem-'ry  thro'    my      soul  doth  sweep  With  tho'ts  of    days      a      -     gone. 


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Used  by  permission. 


There  is  Music  In  My  Soul. 


89 


T.  W.  Williams. 


I 


William  Russell. 


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1.  I     was    once     in        sin     and        far    from    God,   \nd      dis  -  cord  reigned  su- 

2.  Give  me       a      heart  that's  tuned  by     God,     A       heart  that's  like      His 

3.  All  now      I      crave     is         that    my    heart  May     beat       in      time     with 


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own;         A    heart  that's  washed  in  Je  -  sus'  blood,  A    heart    of       pur  -  est    tone. 
Thine;    Thy  rich  -  est    mel  -  o   -  dy     im  -  part,  And  har-mo  -  ny      di  -  vine. 


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2.  Calm  -  er      yet     and      calm    -     er, 


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Sur     -     er        yet       and       sur     -     er,  Peace      at        last 


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Songs  of  Joy  and  Gladness. 


A,  J.  Showalter. 


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1.  Songs      of       joy      and     glad   -   ness,      beau  -   ti   -    ful     songs    we  sing, 

2.  L,earn  -  ing   more      of        Je     -     sus,       read  -  ing      His       ho    -  ly  Word, 

3.  When    the     Mas  -  ter      calls         us       home      to     those   man  -  sions  fair, 

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crown  -  ing  our  Sav  -  iour  King; 
news  of  our  bless  -  ed  Iyord; 
safe  -   ly        to     guide     us      there, 

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jour  -  ney   -  ing      on      the      way. 
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Know      ye      that   Je  -  ho   -   vah,      He    is     God: 

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1.  When  He  com-eth,  when  He  com-eth  To  make  up  His  jew  -  els,  All  His  jew  -  els, 

2.  He       will  gath-er,   He  will  gath-er  The  gems  for  His  king-dom;  All  the  pure  ones, 

3.  Iyit   -   tie  chil-dren,  lit  -tie  chil-dren,  Who  love  their  Redeemer,  Are  the  jew  -els, 

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all  the  bright  ones,  His  loved  and  His  own;    Lake  the  stars  of  the  morn-ing,  His 

pre-cious  jew-els,  His  loved  and  His  own; 


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Take  the  Saviour  With  You. 

Dedicated  to  my  brother,  H'm.  H.  Hohinger,  Shelly  town.  Pa. 


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2.  Far  a  -  way  from  friends  and  loved  ones,  all   a   -   lone,     Mus  -  ing   on     life's 

3.  Bent  on    rec   -  re  -  a  -  tion,  or       in   quest    of     heath,   Min-gling  with   the 

4.  Tho'  the  world  be  wide,  the  Lord    is      ev  -  'ry  -  where,  Round  the  cir  -  cling 

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joys,  re  -  call  -  ing  pleas-ures  flown,  Like  the  skies  His  love  o'er-reach-es 
surg-ing  throng  in  -  tent  on  wealth,  Seek  the  Lord's  ap-  prov  -  al,  keep  your 
globe  you'll  find  His   shel-t'ring  care,        Ev-'ry    sky      re  -  fleets  His  beau-teous 

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ev-'ry-where  you  go,  Take  Him  with  you  thro'  life's  journey  wherso 

ev-' ry-where,  yes,  ev'rvwhereyougo, 

-L-.    -A-     -A-.     -A- 

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An  -    v-where  with  Je  -  sus     it        is  "Home,  sweet  home." 

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96 


Little  Eyes. 


Rev.  B.  R.  Hanby, 

^ 

<         k 

J. 

H.  Fillmore. 

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1.  Lit  -  tie     eyes, 

2.  Lit  -  tie    heart, 

lit   - 
lit   - 

tie 
tie 

eyes, 
heart, 

O   -  pen   with    the 
Full      of    laugh  -  ter, 

morn 
full 

A         f 

-ing   light; 
of     glee, 

3.  Lit  -  tie   hands, 

lit   - 

tie 

hands, 

Bus   -   y      with     the 

kite 

or      doll, 

4.  Lit  -  tie     feet, 

lit   - 

tie 

feet, 

Soft    your   pat   -  ter, 

light 

your   load, 

v.- 

a          a          a 

m 

a 

a 

e 

a         a 

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Up  - 
Beat 
Learn 
Do 

• 

V             9 

ward  look, 
with  love, 
ye     may, 
not    stray, 

a          a 

up- 
beat 
work 
keep 

# 

ward 

with 

or 

the 

a 

look, 
love, 
play, 
way, 

• 

Heav 
For 
Dai 

Walk 

a 

v         »         w 

-en's  morn  is 
the    Lord  who 

-  ly  to  do 
the  straight  and 

al  - 
bless 
good 

nar  - 

a 

f 

ways 
-  es 

to 

row 

1 

bright, 
thee, 
all. 
road. 

♦ 

J'i  "                 1 

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Copyright,  1911,  by  The  Fillmore  Bros.  Co. 


Softly  Sighs  the  Voice. 


Arr.  from  Von  Weber. 


PI  pP. 

1.  Soft  -  ly  sighs  the  voice      of    eve  -  ning,  Steal -ing  thro'    yon  wil-low  grove; 

2.  Thro'  the  dark  blue  vault  of      e   -  ther,     Si  -  lence  reigns  with  soothing  pow'r; 


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watch,  their  nightly  watch  a-bove. 
dark-ly  brooding,  seems  to  lower 


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While  the  stars,  like  guar-dian  spir-its,    Set    their  watch, 
But       a  storm  o'er  von  -  der  mouu-tain  Dark  -  lv  seems, 


their  watch  a  -  bove. 
it    seems  to  lower. 


God  is  My  Song. 


97 


C.  F.  Geliert. 


'-W=W 


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Arr.  from  Beethoven. 


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1.   God       is  my       song!        He        is  a       God         of        pow    -    er; 


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2.    He       sees        my       need,       And  hears  each      bit    -    ter        wail  -  ing! 


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3.   Is         God        so        near?         Is       He  my      Say  -    iour         e    -     veil? 


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Great     are  His    deeds,     His    name     a  might-}-      tow  -  er,       And      all  the 


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v —        1  .  V j  *       g     »       »—  -  »       * 


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worlds     to    Him      be    -    long,     And  all        the  worlds    to    Him 


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love        to      in    -    ter    -  cede,     And  hastes  with  love       to       in    -  ter    -  cede. 


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hell         it  -  self      will        fear,     Nor      e  -     ven     hell        it  -  self     will      fear. 


§i§ 


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98 


Haste  to  the  Rescue. 


Lizzie  DeArmond. 


Samuel  W.  Beazley. 


s 


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1.  They  are  drift   -  ing  a  -  way  Where  the     break  -  ers  roar,  Throw  the 

2.  They  are  drift   -  ing  a  -  way,    Send      a       cheer  -  ing  shout  O'er    the 

3.  To       the  res    -  cue,  nor  wait,  They    are      sink  -  ing  fast,    Pass  -  ing 

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life   -   line     out     o'er     the      sea;        They    are     call  -  ing      to    you,     O        be 
foam-tossed  waves  roll -ing    high;      Lend      a      glad,    lov  -  ing  hand   To    your 
slow  -  ly     down  with   the     tide;         Ere     the     day  -  light    is  done,    O      save 


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swift  to  do,  Tho'       a      friend       or           foe          it  may      be. 

broth  -  er  man;  God      will     help       you  through      if  you      try. 

one,  just  one,  From     the      sea          of           sin  deep  and    wide. 

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res  -  -  cue,  Ere      they   drift       a    -    waj', 

res  -   cue,      my    com  -  rade, 


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hu  -  man  lives   to  -  day;   They    are    drift    -  ing 

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— A-^ a! AU A. A aU =A- • — * 


Res         -         -       cue 
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Copyright,  1912,  by  Samuel  W.  Eeazley. 


99 


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far    from   the  heav'n-ly     goal,  Save     a       pre  -  cious  soul,  save 


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Little  Snowflake. 


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1.  Pret  -  ty       lit    -  tie      snow-flake,  Whirl -ing,  twirl  -  ing,       all        a  -  glee; 

2.  Pret  -  ty       lit   -  tie      snow-flake,     Hiss  -  ing    now      in    -     to      the    main, 

3.  Pret  -  ty      lit   -  tie      snow  -  flake,   When  the     rose     its     leaves  has    shed, 


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Heart  -  y  lit  -  tie  snow  -  flake,  Mite  to  mite  has  stopped  the  train. 
Gloss  -  v        lit    -   tie     snow  -  flake,        In      the      ball    and      out      the     sled. 


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100 


Onward,  Christian  Soldiers. 


S.  B.  Gould. 


A.  S.  Sullivan. 


m^m 


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1.  On  -  ward,  Christian  sol   -    diers!  Marching  as      to       war,     With  the  cross  of 

2.  .Like      a  might  -  y       ar    -     my  Moves  the  Church  of  God;  Broth-ers,  we    are 

3.  Crowns  and  thrones  may  perish,  Kingdoms  rise  and  wane,     But  the  Church  of 

4.  On  -  ward,  then,  ye    peo    -  pie!    Join  our  hap  -  py  throng,  Blend  with  ours  your 

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Where  the  saints  have  trod; 

Con  -  stant  will   re-  main; 

In      the      tri-umph-song; 

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Christ,  the    roy  -  al       Mas  -  ter, 

We     are   not      di   -  vid  -  ed, 

Gates    of     hell    can     nev  -  er 

Glo  -  ry,  laud  and     hon  -  or 

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All      one   bod  -  y      we,    One    in   hope  and  doc  -  trine,  One    in  char  -  i    -  ty. 
'Gainst  that  Church  prevail;  We  have  Christ's  own  promise,  And  that  can-  not    fail. 
Un  -  to  Christ,  the  King;  This  thro'  countless  a   -   ges     Men  and  an  -  gels  sing. 


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Acknowledge  Me,  My  Keeper. 


101 


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Met.  J- 66. 


(CHORAL.) 


J.  S.  Bach.    (1685-1750.) 


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\  Ac  -  knowl-edge  me,  my      Keep    -     er,   My    Shep-herd,  own  me    Thine, 
(  Thou  fount  of  bless-ings,    deep     -     er  Thau  deep  -  est    want  of       mine. 


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Thou  fount  of    blessings,     deep    -    er  Than    deep  -  est  want  of      mine. 


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Dream-ing  dreams,    pen  -  sive  dreams,    Of       the  days  whose  lights  have  flown. 


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As       ye    chime,    keep  -  ing    time        To      the     mu  -  sic       of     life's  rhyme. 


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Used  by  permission  of  author. 


Sweetest  Hosannas. 


i 


''Sing  forth  the  honor  of  His  name;  tnake  His  praise  glorious." — Ps.  66:  2. 
G.  P.  Hott.  J.  D.  Brunk. 

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1.  In      from   the      high  -  way,       in    from    the        by  -   way,    Gath  -  er      the 

2.  Go   where  the       man    -   y        wan  -  der   from       Je   -    sus,      Lov  -  ing   -  ly 

3.  Bright-er    and       bet   -    ter,    gems     of      the      king  -  dom,    Hap  -  py      the 


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chil  -  dren 
whis  -  per  - 
chil  -  dren 


se  -  cure  -  ly  from     sin;         Je  -  sus  has   blest   them,  sweet-ly     ca- 
ing  "Come  un-to      Me;"  Sweet-ly     re  -  call    them,      for   like  the 

in    seek-ing  the     fold;      Ivov-ing-ly     find    them,  put  your  arms 

^1 A At A 1 — Af-; A 


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Ev  -  er      the      king  -  dom       of    heav  -  en      shall       be. 


ressed  them, 
chil  -  dren, 
round  them, 


Just     as      the      Sav   -   iour     once  blest  them      of 


old. 


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104  Thou  Hast  Never  Forgotten. 

Mrs.  Frank  A.  Breck.  Samuel  W.  Beazley. 


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1.  O         God     of     all   the     a  -  ges  that  have  passed, — Of        a  -  ges  yet     to 

2.  Safe    hast  thou  bro't  us     on   our    va-ried  ways,     Thro'     tri  -  al,  pain  and 


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tears;     Thy     lov-ing-kind-ness  ev  -  er      stays,   Thro'    all    the  storm-y     years. 


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The  Merry  Spring. 


105 


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2.  And     as   pure    as  heav'n  is   the  wa  -  ter  giv'n,  And  its  stream  is  for -ev  -  er 

3.  L,et   them  sa)-  'tis  weak,  but  its  strength  I'll  seek,  And  re-joice  while  I  own    its 

4.  O  I     love     to  drink  from  the  foaming  brink  Of  the  bub-bling,  the  cool-ing 


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new;       'Tis     dis  -  tilled     in    the  sky,    and    it      drops  from  on  high    In     the 
sway;       For      it       mur-murs  to    me,      in   the       ech   -   o      of    glee,  And  laughs 
spring;    For     the  bright  drops  that  shine  more  re-fresh  -  ing  than  wine,  And  its 


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show'rs  and  gen-tle  dew. 
as  it  bounds  a  -  way. 
praise,  its  praise  we'll  sing. 


f  Mer-ry,  mer-ry       lit  -  tie  spring,  Sparkle  on, 
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Rip -pie,  rip  -  pie,    sil -v'ry  brook,  Rip- pie  on      for      me. 


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106 


Happy  Time  of  Youth. 


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J,  M.  Bowman. 


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1.  Come,       oh,         come   a  -  way  to    the  meadows  fair,      Where       sweet 

2.  Come        to    the  mer-ry  meads,    here    no  lon-ger   stay,         On  to    the 

3.  Oh,         hap  -  py  days    of  youth,     how  they  swift-ly    fly!         What      will  the 


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go, —   let       us  haste    a  -  way;    Hearts  bright  and  feet 
be,      com  -  ing   by     and     by  ?       Sow  -   ing   their  seed 

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sing -ing  in   the  trees,  Sweet  their  notes  now  wafted  on   the  breeze, 
trip  -  ping  ev-'ry-where,  Shouts  of  glad-ness  ring  out  on   the     air. 
thus   a  crop  't  will  yield,  Reap-ing  what  has  grown  in  time's  great  field. 


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107 


Slower.    Somber  timbre. 


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Come      now  and  ban  -  ish  care,       sor  -  row  leave  be-hind,  Love     and     its 

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shadow  bright  young  hearts, Tear-drops  will  dim  the  cheek,  as    the  smile  de-parts, 
roll  o'er  life's  bright  sea,  Toss  -  ing  the    lit  -  tie  barque       as      it   nears  the  lea. 
cease  this  earth  to  roam,    Soon   will  the  gold -en  sheaves     all    be  gath-ered  home. 


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My  Far- Away  Home. 

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E.  T.  Hildebrand. 


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1.  I        am  think -ing  to  -  night 

2.  I        am  think -ing  to  -  night 

3.  I        am  think -ing  to  -  night 


of        a      far    -   a  -  way   home,  Where  the 
of     that  heav  -  en  -  ly      band,        And 
of  those  who  have  gone         To 


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an  -   gels  are     hap  -  py       in    song,     And  the  streets  of  pure   gold,    which  I 
those  who  are  crowned  with  the  blest;   'Tis  the  host     of    the    L,ord      who  re- 
view that  great  cit    -   y         a  -  bove;       Oh,         may     we    at    length,     through 


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long     to     be    -   hold,         Are  trod     by      the    bright   an  -  gel  throng, 

ceived  the  re    -    ward    Which  is      prom-ised      to        all     who   seek    rest. 
Je    -    sus  the        Son,         Pass  in    -  to      that       ha  -  ven      of       love. 


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Beau  -  ti  -  ful  home,  land   of  the  blest,  Whose  glo-ries  for  -  ev  -  er    are    bright; 

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My  soul   goes  up   to  the  great  white  throne,  Where  Je-sus  is  ev  -  er 
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109 


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sit   and  watch  the  gold  -  en  stars   Be  -  gem  the  az  -   tire    blue,    And 
hear  the  song  you  used    to  sing    In      sum-mer  twi -light  hours, When 
hear    a  -  gain    the  whispered  vows  Of     con-stan-cy      and    love,    That 
more!  no  more  on  Time's  wild  shore  Shall  we  to  -  geth  -  er    stray,  Thro' 

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watch-ing,  dream  a      dream    of   love,    Of  heav'n,  and  home,  and     you;        But 
Ivove's  sweet  chain  first  bound  our  hearts  In       hap  -  py   per  -  fumed  bow' rs;    It 
then  were  breathed  while  gold-en  stars  Beamed  on      us  from      a    -    bove.       But 
sum-mer  bow'rs  in       twi-light  hours,  When  day   has  passed  a    -    way.     'Twas 

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dens  -  er  grows  the  night 
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the  sea  Of  moan  -  ing,  surf  -  beat  years; 
a-round,  More  sad  the  night-wind  sighs, 
a  dream,   I        gaze     on  heav'n's  deep  blue: 


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dence  thrills  my  heart,  And     fills   mine  eyes     with 

once      hap  -  py    days   Fade    out      be  -  fore     mine 

-d'rer      far       a  -  way  From  home,  and  heav'n,  and 

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110 


There!  Little  Girl;  Don't  Cry! 


James  Whitcomb  Riley. 

J.  D. 

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Andante  amabile. 

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Of    your  school  -  girl    days      Are 

Of    vour  youth  -  ful   dreams  Are 


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But      life         and      love  will 


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which     you       sigh. —  There! 


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lit  -  tie  girl;  don't  cry!  . 

lit  -  tie  girl;  don't  cry!  . 

lit  -  tie  girl;  don't  cry!  . 


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and     love        will  soon  come  by. —     There!  lit  -  tie  girl;  don't  cry!  . 

n  holds  all  for  which  you  sigh. —  There!   lit  -  tie  girl;  don't  cry!  . 


child 

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Ingratitude. 


Shakespeare. 


J.  D.  B. 


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blow,        thou   win 
freeze,      thou    bit 


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nigh    As    ben   -  e  -  fits     for   -  got; 


Thy  tooth   is     not      so   keen        Be- 
Tho'  thou  the    wa  -  ters  warp,     Thy 


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Slumber  Song. 


J.  H.  Hall. 


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n  IT  ii  i 

1.  Slum-ber    soft,             lit  -  tie  one,  While  the    qui  -  et     shad-ows  creep; 

2.  Slum-ber   soft,            lit  -  tie  one,  While  the  stars  are  peep  -  ing  out; 

h"\  I              i  i/—  I                         -fv-   -p-    -p-  &s>- 


Si* 


a ----*:- 


%*f 


» 


->S-' 


&— ? 


:-: 


=2=* 


^S 


rr 


tf  rr 

Slum-ber,  dear,  do      not      fear;         Iyove     is    watch -ing   o'er     thy   sleep. 

Heav'n's  bright  gleams  cheer  thy  dreams;       An  -  gels  guard  thee  round   a  -  bout. 


■«-#■ 


I 


9' 


m     i 


# 


3s: 


! 

Used  by  permission  of  author. 


When  I  in  Pain  and  Sorrow  Moan. 


Melody  by  B.  Waldis.     (1550.) 
Harm    by  Praetorius.     (1571 -162 1.) 


mf  Andante. 


^A 


m 


3± 


5 


r^ 


2-= P- 


ffg 


3J — g     £     <>    -^.-^ni^    = 


F    P  a 


^— Lg fS2- 


f-f 


r 


When     I      in     pain  and  sor -row  moan,   And  feel  for-sak-en     and       a  -  lone, 

j  A^A:ArAA  . 


|       I 


d aI 


J  = 


^m 


d: 


/ 


£ 


A 


5 


3± 


-"- 


g         (g       Lgl 


fe 


-"- 


^2 ZC 


7  i 


^^ 


i    •  ,i-     r    i  '      '      i    ■  i   .  p 

'Tis  then  I      lift   my  eyes  on    high       To  God,  for  help  on  Him  re  -  ly; 

J      j  J    J  J     J 


A 


-to- 


T 


1 


fhtr 


Td- 


•^     ^ 


113 


™/l 


-I     J        I 

"g* ^         g 


Q'      'j      o- 


r=r=^ 


m=^ 


And  wait  in      pa-tient  prayer  be-low,      Un  -  til    His  gra-cious  love  He  show. 


\ir±L 


aI-a^    -^     aI 


I     I 


!         I 

-H <5>- 


d 


-N-o- 


H 


Now  May  the  Will  of  God  Be  Done! 


J.  S.  Bach. 


I: 


M=fi4^E^ 


npl * — -ith 


-J 1 <W-J !-!l — rr 

-i H    „    B H-^-  -■ -; 


-4^ 


=*E 


u 


A       A       A       A 


Now     may  the  will    of        God  be  done!  His    will     I  would  not     al 
His      help   is    near    to        ev-'ry    one,   L,et      not    our  cour-age     fal 


ter;  ) 
ter.  f 


I      J        P 


I         I         \ 


nn 


Ki     J  si  tf 


#-■- 


S 


& 


^ 


1 


I 


"■Hrf- 


-^ ^ 


s 


27 


^=*£ 


LJ 


4M w- 


-I*  m  ■ 


A  A 


-f^Pf^ 


In         all  our  need,  Our  Friend  indeed,  How  ten-der-ly   He       chid    -    eth!  To 


nd 


I  I 


f 


m^ftrr^ 


j  jpa 


JU3JT1 


^% 


« 


J 


r 


Ja 


-^r 


xa 


rr 


^5 


-#-#■ 


^M* 


Him  hold  fast:    he  builds   to     last,  Who      still    in      God     con  -  fid 


a  Mi  ,j3»l 


eth! 


Contents  of  Rudimentary  Statements. 

SECTION  ONE. 

Length  of  Notes  and  Rests. 
SECTION  TWO. 

Time.     The  Beat. 
SECTION  THREE. 

Measure,  Simple  and  Compound.     Measure-signatures. 

Measures,  Table  of.     Odd  measures. 
SECTION  FOUR. 

Tempo,  explanation.     Tempo  marks  and  names.     Accelerando. 

SECTION  FIVE. 

Syncopation.     Bars.     Hold  and  Pause.     Slur  and  Tie. 
SECTION  SIX. 

Pitch.     Staff.     Letter-names. 
SECTION  SEVEN. 

The  Scale.     Major  and  minor  seconds.     Syllable  names. 
SECTION  EIGHT. 

Intermediate-tones.     The  Sharp.     The  Flat.     The  Double-sharp. 

The  Double-flat.     The  Cancel.     Accidentals. 
SECTION  NINE. 

Major  keys  and  scales.     Key-tone.     Key-signatures. 
SECTION  TEN. 

Minor  keys  and  scales — Harmonic,  Melodic,  Relative. 

Table,  keys  and  signatures.     Table,  scales. 
SECTION  ELEVEN. 

Power.     Memory  aid. 

SECTION  TWELVE. 
Quality. 

(114) 


PART    THREE 


RUDIMENTARY  STATEMENTS. 


INTRODUCTION. 


Musical  sounds  or  Tones  have  four  properties — Length,  Pitch,  Power  and 
Quality.  The  representation  of  these  to  the  eye  is  Notation.  The  elementary 
study  of  tones  and  their  relations  naturally  divides  itself  into  three  depart- 
ments— Rhythmics,  Melodies,  and  Dynamics,  The  study  of  rhythmics  will 
embrace  the  length  of  tones  and  rests,  time,  measure,  tempo,  etc.  The  pitch 
elements,  such  as  scales  and  melodies,  staff  and  clefs,  keys  and  modes,  are 
comprehended  in  the  term  melodies.  Power  and  quality  are  the  -means  of 
expression  in  the  tonal  art  and  therefore  bring  force  and  character  to  the 
music, — hence  the  term  dynamics  is  generally  used  to  denote  this  department 
of  study. 

I.    RHYTHMICS. 

Section  One. 

LENGTH. 

The  subject  of  length  ir  music  has  to  do  with  length  of  tones  and  length 
of  silence.  Notes  by  their  form  represent  tone  length,  and  by  their  position 
on  the  staff  point  out  the  pitch  to  be  given  the  tone.  Rests  indicate  the 
duration  of  silence. 

TABLE   OP   NOTES   AND   RESTS   WITH   THEIR   NAMES. 


Name 

Character 

Name 

Character 

Whole-note 

a 

Whole-rest 

-w- 

Half-note 

1 

Half-rest 

— 

Quarter-note 

J 

Quarter-rest 

»  i  r 

Eighth-note 

J> 

Eighth-rest 

i 

Sixteenth-note 

fi 

Sixteenth-rest 

=i 

Thirty-second-note 

J 

Thirty-second-rest 

3 

Sixty-fourth-note 

1 

Sixty-fourth-rest 

(115) 

116  EDUCATIONAL  VOCAL  STUDIES. 

The  following  notes  are  also  used  in  music,  but  less  frequently  than  those 
in  the  preceding  table:     Double-whole-note,  thus  \&\    or  \\a>\\  or  even    Jzq  .     Also 


very  short  ones;  One-hundred-twenty-eighth-note 


/ 


0  '  — 

£7      "i" 

a   - 

^    ^    tfj 

1     __ 

d'  - 

J      -1- 

I   _ 

«     - 

1  1  1 
0       0       4 

J.= 

J      + 

J>= 

J>  J>  J> 

A= 

J>4 

^= 

/J^ 

9  '    — 

0      + 

ju 

t)     t)     t» 

/  .s  «R 

With  only  the  above  notes  not  much  rhythmic  variety  could  be  obtained. 
A  dot  to  the  right  of  a  note  adds  half  the  note's  value,  therefore  dotted  notes 
are  very  practical. 

TABLE   OF   DOTTED   NOTES   AND   THEIR  VALUES. 
Dotted- Whole-note 
Dotted-Half-note 

Dotted-Quarter-note 
Dotted-Eighth-note 
Dotted-Sixteenth-not 

The  above  is  sufficient  to  establish  the  formula  that  a  Dotted  note  is 
equal  to  three  notes  of  the  next  lower  denomination.  Any  note  dotted  is 
affected  as  above.     Extremely  short  notes  are  not  practically  dotted. 

Notes  may  have  a  second  dot  placed  for  finer  distinctions  of  lengths,  thus: 

Double  Dotted-Whole-note         „     =  '     \  J  j.    J  -  J  J  J  J  J  J  J    (]) 

£?••        &    ^    o     i     4        0  0  4  0  0  0  4    KiJ 

Double  Dotted-Quarter-note        J. .  =    j   .,     J>  4    j*=  AW^AW*  (i76) 

This  table  should  be  written  out  in  full  by  the  pupil  and  the  formula 
derived. 

Even  a  third  dot  may  be  added  in  like  manner.  Each  added  dot  adds 
half  the  value  of  the  dot  just  before  it,   thus: 

Triple  Dotted-Half-note 

a ei  4      I      0      '     0  dn4  4  4n4n0  0  0n0 V«V«n#V  ^ib; 

The  pupil  should  fill  out  this  table  and  state  formula. 

Note. — A  rest  is  affected  by  the  dot  to  its  right  just  the  same  as  the  notes  are, 
and  may  have  two  or  three  dots  if  necessary. 

The  different  parts  of  notes  have  names.  The  main  body  of  the  note  is 
called  the  Head.  The  line  extending  from  the  head  is  a  Stem.  The  little 
dash  floating  to  the  right  of  the  stem  is  a  Flag  or  Hook.  The  head  of  a  note 
may  be  open  or  closed.  An  eighth-note  (  \)\  has  a  closed  head,  a  stem  and 
one  hook.  A  half -note  \&  )  has  an  open  head  and  a  stem.  The  stem  of  a 
note  may  extend  either  up  or  down.  When  it  is  up  it  must  be  on  the  right, 
and  when  down,  on  the  left,  thus:  i  *  fe  j  e^c.  Notice  the  hook  is  to  the 
right  in  each  case. 


RUDIMENTARY  STATEMENTS.  117 

Sometimes  two  or  more  stems  are  connected  by  a  Beam,  thus: 

p  •  p  -  CJ     p  p  p  -  I   [   i     ^  v  •  JR  J?  -  j  ;  ,  J 

The  beam  acts  as  a  hook  and  at  the  same  time  as  a  slur. 

Section  Two. 

TIME. 

Time  in  music  should  be  considered  as  relating  to  the  length  of  tones. 
To  sing  "in  time"  then,  would  mean  that  we  are  singing  each  tone  exactly 
long  enough;  that  a  quarter-note  will  be  twice  as  long  as  an  eighth-note,  or 
eighth-rest,  and  only  half  as  long  as  a  half-note  or  half-rest,  etc.  Just  as  the 
yard  is  a  unit  at  the  dry-goods  counter,  and  the  pound  in  the  meat-market,  so 
the  Beat  is  a  small  division  of  time  taken  as  the  unit  in  the  rhythmic  element 
of  music.  Notes  are  said  to  represent  tones  so  many  beats  long,  or  a  certain 
part  of  a  beat  long.  The  beats  may  flow  slowly  or  rapidly,  yet  the  above 
definition  and  statements  are  correct.  This  subject  will  be  further  explained 
under  measure  and  tempo. 

Section  Three. 

MEASURE. 

Some  beats  (or  pulses  as  they  are  frequently  called)  are  accented  and 
some  are  unaccented.  When  accented  beats  occur  at  regular  intervals  of  time, 
Measure  is  produced.  A  concise  definition  is:  "Measure  is  the  grouping  of 
accented  and  unaccented  beats."  By  grouping  beats  a  larger  unit  is  produced. 
These  measure  units  differ  because  beats  easily  group  themselves  in  "twos"  or 
in  "threes".  In  the  different  varieties  of  measure  will  be  found  one,  two, 
three  or  four  of  these  simple  groups  of  "twos"  or  "threes."  When  the 
measure  consists  of  one  group  of  "twos" — that  is,  one  strong  beat  and  one 
weak  beat — Double  Measure  is  produced.  Lines  are  drawn  vertically  between 
the  last  note  of  one  measure  and  the  first  one  of  the  next  to  show  where  the 
accents  should  be  placed.  These  lines  are  called  Bars.  They  are  placed  just 
before  the  strongest  beat  of  the  measure.  The  spaces  between  the  bars 
represent  measure,  but  the  real  thing  we  can  only  hear  or  feel  in  the  mind. 
When  a  single  group  of  "threes"  is  taken  as  a  measure  unit  we  have  Triple 
Measure.  When  two  groups  of  "twos"  are  combined  in  one  measure  we 
obtain  Quadruple  Measure.  The  first  beat  has  a  primary  accent  and  the  third 
beat  a  secondary  accent. 

Compotind  Measure  is  formed  when  a  group  of  "threes"  is  placed  to  each 
beat  of  simple  measure.  Compound  Double  Measure  has  two  groups  of  "threes", 
making  six  beats  in  the  measure,  with  a  secondary  accent  upon  the  fourth  beat. 


118 


EDUCATIONAL  VOCAL  STUDIES. 


Compound  Triple  Measure  has  three  groups  of  "threes",  making  nine  beats, 
with  accents  upon  the  first,  fourth,  and  seventh  beats.  The  groups  become 
weaker  as  we  advance  until  the  bar  is  reached.  Compound  Qziadruple  Measure 
is  the  result  of  bringing  into  one  large  group  four  "threes",  producing  twelve- 
beats  in  the  measure.  These  small  groups  stand  in  the  same  relation  to  each 
other  as  do  the  beats  in  the  simple  quadruple  measure.  Accents  occur  upou 
the  first,  fourth,  seventh,  and  tenth  beats. 

For  the  convenience  of  the  singer,  and  that  the  composer  may  be  definitely 
understood,  figures  are  placed  at  the  beginning  of  a  composition  to  state  which 
variety  of  measure  is  meant.  The  upper  figure  tells  how  many  beats  there  are 
in  each  measure.  Double  measure  will  have  the  figure  2  written  on  the  fourth 
line  of  the  staff;  triple  measure  the  figure  3,  and  quadruple  the  figure  4. 
The  compound  measures  have  for  their  signatures,  respectively  6,  9,  and  12. 
It  has  been  the  practice  of  composers  to  write  sometimes  a  half-note  to  each 
beat  and  sometimes  a  quarter-note,  and  frequently  other  notes.  It  is  helpful 
to  have  a  figure  to  tell  which  is  intended.  We  use  the  lower  figure  of  the 
Measure  Signature  for  that  purpose.  When  the  lower  figure  is  4,  that  means 
that  each  quarter-note  in  that  song  is  one  beat  long,  and  all  other  notes  in  the 
same  proportion.  The  lower  figure  being  2,  means  that  each  half -note  has  one 
beat,  etc.     The  lower  figure  being  8,   an  eighth-note  is  the  "beat-note." 

The  following  table  will  condense  the  above  facts,  showing  the  signatures 
and  the  location  of  the  accents* 


Simple 


Measure 


(  Double 
-(Triple 


(2) 

(3) 

Quadruple  (4) 

Compound  Double       (6) 

Compound  ^Compound  Triple        (9) 

Compound  Quadruple  (12) 


Note. — The  Choral  would  belong  in  the  above  group  of  measures, 
are  equal  in  stress.  Then  there  are  the  4  |  —  —  ~  |  —  —  or  |  —  - 
and  the   |   |   —    —     |   —    or   |   —    |   —    — 


All   tones 


The  motions  of  the  hand  used  to  assist  in  keeping  the  measure,  time  and 
tempo,  are:  For  Double — down  and  up;  for  Triple — down,  right,  and  up;  for 
Quadruple — down,  left,  right,  and  up.  This  procedure  is  called  marking  time. 
Compound  measures  usually  the  same. 


RUDIMENTARY  STATEMENTS. 


119 


Section  Four. 

TEMPO. 

Tempo  is  the  Italian  word  for  Time.  In  connection  with  music  we  use  it 
to  mean  the  rate  of  speed  at  which  the  beats  flow.  More  clearly  stated,  the 
tempo  of  a  musical  composition  is  determined  by  how  rapidly  accents  follow 
each  other.  When  they  follow  in  close  succession  the  tempo  is  rapid  or  quick, 
and  when  they  are  far  apart  the  tempo  is  slow.  The  tempo  is  indicated  by 
placing  terms  or  Metronome  marks  at  the  beginning  of  the  first  score.  The 
sign  M.  M.  stands  for  Maelzel  Metronome.  This  is  the  name  of  an  instrument 
made  with  an  inverted  pendulum  which  can  be  altered  to  different  lengths, 
and  can  therefore  be  set  to  run  at  any  rate  from  very  slow  to  very  fast. 
M.  M.  J  -  1 20  would  then  mean  that  the  Metronome  shall  tick  120  times  each 
minute,  and  that  a  J  should  receive  one  beat  or  half  a  second  of  time.  The 
above  is  a  very  definite  marking  and  is  growing  into  much  favor  at  this  time. 
Then  there  are  certain  Italian  words  which  suggest  tempo  by  their  meaning. 
The  following  tempos  form  a  safe  scale  from  which  to  work:  Adagio — very 
slow,  Andante — slow,  Moderate) — medium  tempo,  Allegro — fast,  Presto — very 
fast.  Beside  the  five  named  above  the  following  terms  are  common  tempo 
marks:  (See  Dictionary — back  of  this  book  for  the  definitions)  Grave,  Largo, 
Andantino,  Allegretto,  Maestoso,  Vivace,  Spiritoso,  Con  Spirito,  Con  brio, 
Prestissimo. 

The  word  Ritardando,  abbreviated  rit.,  means  that  we  should  have  the 
beats  to  flow  gradually  slower  and  slower.  That  means  that  the  tempo  is 
gradually  made  slower,  but  does  ?wt  have  the  idea  of  diminuendo  in  it. 

Accelerando  means  to  gradually  quicken  the  tempo,  to  sing  faster  and 
faster  but  ?iot  louder  and  louder.  Stringendo  has  the  same  meaning  as  accel- 
erando. 

Section  Five, 

There  are  several  signs  which  do  not  so  distinctly  belong  under  any  of 
the  three  general  heads  of  the  rudiments  of  music  but  we  shall  include  them 
in  this  section  under  Rhythmics. 

SYNCOPATION. 

In  our  modern  music  there  is  much  desire  for  contrast  and  variety,  and 
this  is  particularly  true  in  regard  to  the  rhythmical  effects.  Syncopation  is 
one  of  the  striking  means  by  which  we  produce  such  variations.  The  effect 
itself  is  that  of  hearing  a  tone  begun  upon  an  unaccented  beat  or  part  of  a 
beat  and  continued  into  the  accent.  The  following  are  a  few  simple  examples 
of  the  notation  of  syncopation. 

Syncopated  notes  are  marked  * 


ateJaJteB^ 


± 


s 


-r— 


± 


120 


EDUCATIONAL  VOCAL  STUDIES. 


BARS. 

In  section  three  the  regular  measure  bar  I  J  was  mentioned.  There  is  also 
a  heavy  bar  called  the  Broad  Bar  (I).  These  two  kinds  are  used  in  various 
ways.  The  light  bars  represent  the  measures.  Two  light  bars  or  one  broad 
bar  show  the  divisions  in  musical  compositions.  The  Close  of  a  song  or 
exercise  is  indicated  by  a  double  broad  bar  [  II]  or  by  a  light  bar  and  one  heavy 
bar  I  III.    The  following  bar  and  dots  mark  the   beginning  of  a  passage  to  be 


repeated:  I*  or  I J  or  I  \\.    The  close  of  a  passage  to  be  repeated  is  marked  ;l  or  ;| 

.  I|  S  •  I  I    •     •  J  6  •  .  !  .  •! 

or  ; II.  "When  this  bar  :|j:  or  \\\  is  found  between  two  passages  both  are  to 
be  repeated.  Then  there  is  a  sign  like  this  j  Bis  |  meaning  to  repeat  the  part 
under  the  bracket.  Bis  means  "twice".  Two  other  forms  of  abbreviating  are 
very  common.  D.  C.  stand  for  Da  Capo,  which  means  return  to  the  beginning 
and  end  at  "Fine."  D.  S.  stands  for  Dal  Segno,  meaning  to  return  to  the 
sign  :S:   (sometimes  §£)  and  end  at  "Fine". 

THE    HOLD   AND   THE   PAUSE. 

The  meaning  of  this  character  n\  is  best  expressed  by  the  word  "prolong" 
but  we  call  it  hold  or  pause  according  to  its  use.  When  it  occurs  over  a  note 
it  is  a  Hold  and  means  to  prolong  the  tone  to  a  greater  length  than  the  note 
represents.  When  it  is  over  a  rest,  or  a  bar,  or  the  space  between  two  notes, 
it  is  a  Pause.     Placed  over  a  double  bar  it  denotes  a  full  close. 

THE   SLUR    AND    THE    TIE. 

The  curved  line  plays  a  convenient  part  in  musical  notation.  It  is  a  Slur 
when  it  connects  two  or  more  notes  which  represent  different  pitches.  It  is  a 
Tie  when  it  connects  two  notes  which  represent  the  same  pitch. 


Slur. 


Tie. 


Slur. 


Tie. 


Ties. 


-fiT 


->. 


-=*- 


A     -     -     -      men. 

Note. — In  vocal  music  the  slur  shows  how  many  notes  are  to  be  sung  to  one 
word  or  syllable  of  a  word.  In  instrumental  music  it  is  a  phrase  mark.  In  the  use 
of  a  tie  we  sing  only  the  first  note,  giving  it  the  time  value  of  all  the  notes  connected. 


II.    MELODICS. 
Section  Six. 


PITCH. 


The  Pitch  of  a  tone  is  determined  by  the  rate  of  the  vibrations  producing 
it  When  the  vibrations  are  slow  the  tones  have  depth  or  gravity — in  a 
common   term   we   say   they   are  "low."     When    the    vibrations   are  rapid   the 


RUDIMENTARY  STATEMENTS.  121 

tones  are  acute  or  shrill,  the  common  term  being  "high".  There  are  very 
many  pitches  that  may  be  appreciated  by  the  human  ear  but  we  use  com- 
paratively few  of  them  in  the  musical  scale.  Those  we  use  are  named  by  the 
first  seven  letters  of  the  English  Alphabet — a  b  c  d  e  f  g.  Since  there 
are  many  more  than  seven  in  use,  these  letters  are  repeated  in  groups  higher 
and  lower  as  the  case  may  require.  Pitches  are  represented  to  the  eye  by 
means  of  the  staff  and  clefs.  The  Staff  consists  of  five  lines  and  six  spaces, 
making    eleven    degrees.       These    lines    and    spaces    together    with    clefs,    added 

space  above. 


5^ 


space  below. 

lines,  sharps  and  flats,   and  a  few  other  signs  represent  all  the  pitches  used  in 
music. 

The  following-  Clefs  are  in  common  use: 


The  G-Clef  on  the  staff  and  the  names 
of  the  pitches  represented. 


& 


The  F-Clef  on  the  staff  and  the  names 
of  the  pitches  represented. 


The  C-Clef  on  the  staff  and  the  names 
of  the  pitches  represented. 


m 


Added  lines  are  short  lines  below  or  above  the  staff.  Not  more  than  five 
•of  these  lines  may  be  used  on  one  side  of  the  staff.  Below  are  the  names  of 
the  added  lines  and  spaces  which  are  most  commonly  used: 


b 


-C      -ii. 


-1>- 


I 


m 


9:  ~C~ —  II 


(f-  e :*)  •  *-  *+■=  =  = 

e    -d-  -rr 


S(-i-  -=-  —  i  *>    -a-    *-   — 

Section  Seven 


THE   SCALE. 


It  is  probably  fair  to  state  that  the  major  scale  is  the  basis  for  our  entire 
musical  system.  The  word  scale  means  a  ladder  or  a  series  of  steps.  We 
should  keep  the  "series"  idea  in  the  term.  We  think  of  a  series  of  tones 
progressing  upward  or  downward  step  by  step.  On  the  staff  then  the  scale 
would  employ  the  degrees  (lines  and  spaces)  in  succession  as  they  appear 
either  ascending  or  descending  from  a  given  starting-point.     The   steps   of  the 


122  EDUCATIONAL  VOCAL  STUDIES. 

scale  are  not  all  alike.  Two  are  smaller  than  the  others.  The  larger.ones  are 
sometimes  called  "steps"  and  the  smaller  ones  "half-steps".  We  shall  call 
the  longer  ones  Major  Seconds  and  the  smaller  ones  Minor  Seconds.  The 
names  of  the  tones  of  the  scale  are:  i,  2,  3,  4,  5,  6,  7,  and  1.  Minor  seconds 
occur  between  3  and  4  and  between  7  and  1,  while  all  the  others  are  Major 
seconds.  Let  -f  mean  major  second  and  —  minor  second,  then  the  formula 
upon  which  the  major  scale  is  built  would  appear  thus:  ++  —   +   +   -!-   —   . 

On  the  staff  with  the  G-Clef  this  scale  is  as  follows: 

major  scale. 


^     e? — *? ^ — o    _^_ 

123456717654321 
+      +      -      +      +       f      —      -      +      +      +      —      +       f 

It  will  then  be  seen  that  the  degrees  of  the  staff  e  and  f,  and  b  and  c 
represent  minor  seconds,  or  half-steps,  while  the  others  represent  major  seconds 
or  steps. 

Syllable  Names  are  usually  applied  to  the  tones  of  the  scale  in  learning 
to  sing.  They  are:  1  is  Do  (doh),  2  is  Re  (ra}'),  3  is  Mi  (me),  4  is  Fa  (fah), 
5  is  So  (soh),   6  is  La  (lah),   7  is  Ti  (te),   and  1   is  Do  (doh). 

Note. — Care  should  be  taken  that  these  syllables  are  well  pronounced  and  not 
used  too  much,  as  poor  vocal  habits  ofttimes  result.  For  cultivating  beautiful  tone 
production  it  is  better  to  call  all  the  tones  by  the  same  name.  Loo  is  fine,  Lo  is 
safe,  La  is  all  right. 


Section  Eight. 


INTERMEDIATE   OR    CHROMATIC   TONES. 

There  are  tones  lying  between  the  regular  tones  of  the  scale  as  represented 
above  which  are  called  hitermediate  or  Chromatic  tones. 

NOTE. — Long  ago  these  intermediate  tones  were  represented  by  printing  certain 
letters  in  colors,  hence  from  the  term   "chromo"  came  the  word  Chromatic. 

The}'  are  very  useful  in  our  tonal  system  for  giving  color  and  variety. 
Only  the  tone  in  the  middle  of  the  Major  second  is  used  as  such  a  tone.  The 
following  characters,  which  are  used  in  connection  with  the  staff,  assist  in  the 
representation  of  the  intermediate  tones.  The  Sharp  (j£)  is  a  character  used  to 
make  that  degree  of  the  staff  upon  which  it  is  placed  represent  a  tone  an 
augmented  prime  (half-step)  higher. 

NOTE. — This  kind  of  a  half-step  should  be  called  "chromatic  half-step''  to 
distinguish  it  from  the  regular  half-step.  In  fact  such  half-steps  show  the  weakness, 
of  the  step  and  half-step  system  of  naming  intervals. 


RUDIMENTARY  STATEMENTS. 


123 


Take  i   and  2  of  the  major  scale  for  example.     The  interval  between  them 

1 

I  .  Now  to  name 


is  a  major  second.     Let  us  imagine  it  to  seem  quite  large 


Li- 


the intermediate  tone  in  this  major  second  and  represent  it  by  a  sharp,  we  call 

it  sharp  one  or  di  (do  sharp)  tyi-\  .     It  sounds  in  relation  to  2  as  7  does  to    1. 

I_l_l 
In    like    manner   we   can  find  a   tone    within    each    major   second    of   the    tonal 

system.     Those  in  one  octave  (from  1  to  and    including   the  next   1  above)  are 
as  follows: 


MAJOR  SCALE — INTERMEDIATE   TONES. 


v 

Vf 

fn\ 

VJJ 

n 

1 

+ 

2 

+ 

3 

4 

■ 

5 

M 

6 

_,_ 

7 

1 

J 

/v 

v\\ 

U-' 

fe^ 

\  I 

Li' 

S^- 

M— 

El 
di 

r 

#2 
ri 

Tf 

fi 

si 

«6 

li 

Note — To  represent  an 
intermediate  tone  by  a  sharp, 
set  the  sharp  before  the  lower 
note  of  the  two  forming  the 
major  second  within  which  it 
is  to  sound. 


The  Flat  (i?)  is  a  character  used  to  make  that  degree  of  the  staff  upon 
wrhich  it  is  placed  represent  a  tone  an  augmented  prime  (half-step)  lower.  All 
that    was    said   of  the   sharp    applies    to   the    flat,    only   it   acts   in   the    opposite 

directon — therefore    p2-\  . 

LiJ 


MAJOR   SCALE  —  INTERMEDIATE    TONES. 


=£~                                                                                 — n 

A. 

w 

LJ 

x;     c 

n 

1       7 

—         + 

6 

+ 

5 

4      3 

—         + 

2 

1 

_AL 

TT 

b— 

k« 

l(x\ 

\)^ 

b^- 

x^y 

b^ 

— b^ 

77 


t>6 
le 


ft 


>3  >2 


Note.  — To  represent  an 
intermediate  tone  by  a  flat, 
set  the  flat  before  the  upper 
note  of  the  two  forming  the 
major  second  within  which  it 
is  to  sound. 


It  is  then  certainly  clear  that  all  intermediate  tones  are  practically  formed 
by  either  sharping  the  lower  note  or  flatting  the  upper  one.  Sometimes  we 
need  to  present  an  intermediate  tone  that  lies  between  two  tones,  one  or  both 
of  which  have  already  been  sharped  or  flatted.  The  above  rule  still  holds 
good — sharp  the  lower  one  or  flat  the  upper  one.  Suppose  we  need  to  sharp 
a  degree  that  has  a  sharp  upon  it?  Just  sharp  it  again.  Then  we  have  a 
Double  Sharp  or  we  have  doubly  sharped  that  degree.  To  do  that,  use  two 
sharps,  thus  M.     The  old  way  was,  and  the  common  practice  now  is,  however, 


124 


EDUCATIONAL  VOCAL  STUDIES. 


to  use  a  special  character  called  Double  Sharp  and  made  in  various  ways, 
thus:  x  or  x  or  %  .  To  flat  a  flatted  degree  use  two  flats,  thus  frb.  There 
is  only  this  one  sign  for  the  Double  Flat.  This  with  other  important  facts 
leads  the  author  to  conclude  that  the  double  sharp  should  be  used  like  the 
double  flat. 

A  more  difficult  question  is;  How  shall  we  sharp  a  flatted  degree  or  flat 
a  sharped  one?  If  the  following  statement  is  clear  then  the  whole  matter  will 
be  easy.  If  a  sharp  sharps  a  degree,  then  removing  the  sharp  will  flat  that 
sharped  degree.  That  is  true.  Then  it  must  also  hold  that  to  remove  a  flat 
from  a  degree  will  sharp  that  flatted  degree.  We  have  a  character  thus  fa  which 
has  several  names — Natural,  Cancel — both  are  significant.  What  difference 
there  may  be  among  theorists  as  to  the  name,  they  all  agree  in  their  use  of 
it.  It  is  used  to  cancel  the  effect  of  any  sharp  or  flat  which  appeared  in  the 
signature  earlier  in  that  same  score  on  that  particular  staff  and  degree.  To 
sharp  a  flatted  degree  use  a  cancel,  and  to  fiat  a  sharped  degree  also  ?tse  a 
cancel. 

I 


:b: 


EE 


•    N      *-H> 


m 


3£=:E 


54345     #4       543 
so      fa     mi     fa      so     fi      so     fa      mi 


5       1     J?7       6 

so     do     te      la 


It  has  been  the  custom  to  use  the  cancel  to  erase  the  effect  of  a  double 
sharp  or  a  double  flat,  in  which  cases  it  becomes  necessary  to  follow  the  cancel 
with  a  sharp  or  a  flat  as  the  case  would  require.  For  example,  suppose  we 
wish  to  write  c  x  and  c  tt  in  the  same  measure  for  the  same  voice.     The  present 

practice  would  make  it  thus:   p^jy— 


* 


Note. — We  would  much  prefer  to  write  the  single   sharp  without   the   cancel   to 


make  it  read  cjj  thus: 


£  w 


rr 


In   all  practice  we  think  this  would   be 


cittt    cit 

entirely  clear.      It  must   never   be   understood   that   placing  a  sharp   upon   a   sharped 

degree   makes   a   double   sharp.       The   second   note  is  not  cfj, 

but  only  c£,  therefore  any  degree  with  a  sharp  on   it   may  be 

read  only  as  singly  sharped,   and  hence  we  claim  that  a  single 

sharp  after  a  double  sharp  is  sufficient  to  represent  the  correct 

pitch.     To  erase  a  double  flat  we  would  like  to  place   a   single 

flat,  however  usage  is  still  against  that. 


m 


~p~ i 


c5 


ctf 


The   cancel   works  with   the   double   flat   just   as   explained    above   for   the 


double  sharp. 


m 


We  shall  see  the  use  of  sharps  and  flats 


in  subsequent  sections. 


hV?       b  V 


RUDIMENTARY  STATEMENTS. 


125 


ACCIDENTALS. 

All  sharps,  flats,  cancels,  double  sharps  and  double  flats  occurring  within 
a  composition  or  exercise,  not  in  the  key-signature,  are  called  accidentals.  A 
sharp  or  a  flat  in  the  key-signature  affects  all  the  letters  of  the  same  name, 
in  the  octaves  above  or  below,  represented  by  the  staff  upon  which  it  occurs. 
An  accidental  affects  only  the  degree  upon  which  it  is  located.  It  continues 
in  force  throughout  the  measure  in  which  it  occurs  unless  canceled  by  another 
accidental.  If  the  composer  wishes  it  continued  into  the  next  measure  he 
shall  have  to  write  it  again  after  the  bar. 

ACCIDENTALS   ILLUSTRATED. 


1      7^7     67     6j?6     5     6     5 


1  j?6  H     5 


3  Jf5     7  #5     6 
or 

5     7     2     7      1 


According  to  the  above  rules  there  are  many  useless  accidentals  in 
musical  compositions.  Composers  and  editors  have  learned  the  wisdom  of 
using  an  accidental  to  make  any  questionable  place  understood.  The  musical 
mind  hears  all  the  parts  of  a  song.  Now  suppose  the  altos  sing  it  4  (fi)  and 
the  composer  in  the  next  measure  wants  4  (fa)  in  the  soprano.  The  singers 
will  be  feeling  the  #4  ((fi)  which  the  altos  have  just  sung,  therefore  he  places 
a  cancel  (fa)  before  the  4  (fa)  to  make  it  certain  that  4  (fa)  is  meant.  Cases 
of  greater  extreme  frequently  occur  but  are  based  upon  this  same  principle. 


Section  Nine. 

MAJOR   KEYS  AND  SCALES. 

When  one  first  begins  the  study  of  tones  and  their  relations  he  is  much 
like  a  stranger  in  a  large  community.  After  a  while  he  discovers  that  people 
are  grouped  into  families  and  kinships.  Characteristics  and  names  aid  him 
in  seeing  their  proper  relations.  He  adjusts  and  adapts  himself  to  the 
conditions  and  is  no  longer  a  stranger.  In  some  such  way  let  us  think  of  all 
the  tones  which  we  may  be  able  to  comprehend.  Just  now  it  may  be  you 
are  in  a  strange  tonal  community.  You  are  not  acquainted  with  the  tones. 
There  are  certain  ones  which  relate  themselves  to  one  another  very  closely. 
They  bear  a  certain  fixed  relationship  to  each  other  which  is  exactly  the  same 
as  the  tones  in  the  scale  bear  to  each  other.  In  the  scale  they  must  progress 
as  a  series  but  in  this  family  of  tones  called  a  A'ey  they  may  occur  in  any 
order.  The  tones  cluster  about  one  central  tone  as  do  the  members  -of  a 
family  about  the  head  of  authority — the  father.  That  tone  is  the  Keytone  the 
1  of  the  scale.  To  avoid  monotony  and  to  make  it  possible  to  use  a  great 
variety  of  melodies  in  the  range  of  the  voice  and   the   beautiful    tones   we   use 


126 


EDUCATIONAL  VOCAL  STUDIES. 


different  pitches  as  the  keytone.  Tones  are  then  used  which  will  relate  them- 
selves to  the  new  keytone  the  same  as  those  in  the  old  key.  If  the  keytone 
or  i  is  on  C,  then  it  is  said  to  be  the  key  of  C.  When  the  keytone  or  i  is 
changed  to  G  the  key  would  then  be  G,  but  the  minor  seconds  must  occur 
between  3  and  4,  and  7  and  1,  and  the  other  seconds  will  be  major.  The 
following  will  then  define  a  key.  A  key  is  a  family  of  tones  bearing  a  certain 
fixed  relations/iip  to  each  other.  The  key  and  the  scale  are  always  named 
from  the  letter  upon  which  the  keytone  is  formed.  There  may  therefore  be 
as  many  keys  as  there  are  pitches  in  our  tone  system.  We  must  not  for  a 
moment  think  that  all  the  tones  may  belong  directly  to  any  one  key.  Each 
key  will  have  certain  tones  which  enter  to  constitute  it.  (There  are  also  tones 
which  lie  in  close  relationship  but  do  not  help  constitute  the  key.)  Since  the 
relation  between  the  tones  of  a  key  is  the  same  as  that  between  the  tones  of 
the  scale,   it  will  be  sufficient  if  we  find  the  tones  of  all  the  scales. 


1 
—  7- 


It  will  be  apparent  that  manjT  tones  will  belong  to  more  than  one  key.  It 
must  again  be  true  that  the  tones  of  one  key  cannot  be  exactly  those  of 
another.  They  must  differ  b}T  at  least  one,  or  the  key  will  remain  the  same. 
The  minor  seconds  must  remain  between  3  and  4,  and  7 
and  1.  There  is  only  one  position  (C  as  keytone)  on  the 
staff  where  that  will  be  true  without  the  use  of  sharps  or 
flats.  Let  us  reason  our  way  through  one  key  which  begins 
at  another  point  than  C.  Let  us  take  the  G  as  a  keytone. 
We  will  call  G  1.  We  must  put  a  round  in  the  ladder  a 
major  second  higher  for  2.  It  will  be  the  letter  A.  It  must 
be  a  major  second  from  2  to  3  and  we  find  that  B  lies 
that  distance  above  A,  therefore  B  is  the  proper  pitch  to 
use  for  3.  Now  4  lies  only  a  minor  second  above  3,  and 
from  B  to  C  is  a  minor  second.  We  may  take  C  as  4.  It 
is  again  a  major  second  from  4  to  5  and  D  is  seen  to  be 
the  proper  pitch.  A  major  second  above  D  will  give  us  E 
for  our  6.  From  6  to  7  must  be  a  major  second,  but  E  and 
F  are  onl}*  a  minor  second  apart.  It  is  now  clear  that  F 
cannot  belong  to  this  key  because  it  is  too  low.  G  is  too 
high.  The  tone  between  them  must  be  found.  It  must  be 
Fa  and  not  Gi>  because  Fiji  will  make  a  major  second  while 
Gv  will  not  produce  a  second  at  all  but  a  third.  Ftt  be- 
comes 7  of  the  key  of  G.  Our  1  now  lies  a  minor  second 
above  7,  and  as  G  would  produce  that  interval  it  becomes 
the  upper  1  just  as  it  was  the  1  upon  which  we  began. 
We  now  see  all  the  tones  in  the  key  of  G  are  the  tones  of 
the  key  of  C  excepting  one.  That  one  distinguishes  these 
two  keys.  All  the  sharps  or  flats  required  to  represent  the 
proper    tones    of   the   key    desired    are   placed    at    the   beginning    of   the    staff. 


4 — f- 

-3 e- 


1  - 

-7- 


-6 


-4  — 
-3  — 


RUDIMENTARY  STATEMENTS. 


127 


These  are  then  called  the  Key  Signature.  They  hold  their  effect  across  the  page 
(a  score)  unless  that  effect  is  erased  by  a  cancel  used  as  an  accidental,  or  by 
a  change  in  the  key  signature.  The  letters  naming  the  pitches  which  con- 
stitute the  key  of  C  are  simply  the  names  of  the  tones  in  the  scale  of  C, 
which  are:  c  d  e  f  g  a  b.  The  names  of  the  tones  in  the  key  of  G  are: 
gabcdefit.  This  scale  on  the  staff  with  G-Clef  and  signature 
would  appear  thus: 

SCALE   OF   G. 

■  -      ===     ^  ^     === 


gabcdefjgfie 
1234567176 

_|_  -p  ^ —  -r  _j-  -p  —  .  _j_ 

do     re     mi     fa      so      la      ti      do      ti      la 


d 

5 

c 

4 

b 

3 

a       g 

2        1 

SO 

fa 

mi 

re     do 

The  Key  of  C  has  no  sharps  but  the  key   of  G   has   one.     If  the  5  of  the 

key  of  G  be  taken  as  1,  the  key  will   be  D  and   the   signature   will   have  two 

sharps — one  more  than  G.     Each  time  5  becomes  1,   one  sharp  is  added  to  the 

signature.     This    may   be  carried    on  up  to  a  signature   of    seven    sharps.     The 

following  table  shows  the  names  of  the  pitches  forming  the 

keys   with  sharps   as    their    signatures: 


-4 f- 

-3 e- 


2 d 


-7 b- 


-6 a- 


5 g S 


i f- 

3 e- 


2 <1- 


f 1- 

-e 7- 


-<l 6 


a 3 


-f 1- 


Key     Pitch  Names 


Signature 


G 


b    c    d    e    fit     one  sharp —      F£ 


D-d  e  f#g 
A  — a    b    c$  d 

E  — e  f  J  g#  a 
B  — b  c|  d  I  e 
Fjt-f#g#ajb 


a    b    cjj 

b  cijd^ 

f#  4  4 
4  4  4 


C#-cifd|e#f|g}jaifb}f 


two  sharps —    Fti  Cti 
three  sharps— F|  Cj  G+f 
four  sharps—  Fit  C§  GJj  Djf 
five  sharps—    F^  Q|  Gj(  Dj  AJf 
six  sharps—     Fj  Cj  G^  d|  a|  E|( 
seven  sharps—  FJf  C^  Gjj  D±f  A  J  E±j  Bit 


By  taking  any  other  tone  as  1  or  the  keytone  a  different 
result  will  be  obtained.  Let  us  again  take  the  scale  of  C 
and  start  from  4  (f)  as  our  1  or  keytone.  Let  us  remind 
ourselves  that  e  and  f,  and  b  and  c  are  minor  seconds  apart, 
and  that  all  the  other  seconds  are  major.  Remember  also 
that  3  and  4,  and  7  and  1  must  form  minor  seconds.  F  is 
1.  What  will  be  2?  That  pitch  which  is  a  major  second 
higher  than  F.  Then  it  is  G.  Another  major  second  will 
bring  us  to  A  which  becomes  3.  Now  we  shall  have  to 
reason  carefully.  A  is  3,  and  from  A  to  B  is  a  major  second, 
and  from  3  to  4  must  be  only  a  minor  second.  Evidently 
B  is  too  high.  Ait  will  not  do  because  it  is  only  a  prime 
above  A   and   not  a  second   at  all.     B  i?  is  4.     It  is  not  t>4, 


Key 

Pitch  Names 

F  — 

f     g     a     bt>  c     d 

e 

Bt?— 

bt?  c     d     el?    f     g 

a 

El?- 

et?   f     g     at?  bt?  c 

d 

At>- 

at?  bt»  c     dt?  et?   f 

S 

Dt>- 

dt?  ei?   f     gt?  at?  bt? 

c 

128  EDUCATIONAL  VOCAL  STUDIES. 

just  4.  It  requires  a  flat  to  make  4  sound  right.  From  Bi?  to  C  is  farther  than 
from  B  to  C,  therefore  it  is  a  major  second  from  Bt?  to  C,  making  the  required 
major  second  from  4  to  5.     C  being  5,   D,   E  and  F  will  be  6,   7,  and   1. 

The  above  shows  that  taking  the  4  of  a  scale  as  1  of  a  new  one  will 
give  a  key  or  a  scale  with  one  more  flat  in  the  signature.  Another  cycle  of 
keys   is   therefore   possible   as   follows: 

Signature 

one  flat—      Bt? 

two  flats—     Bt?  El? 

three  flats—  Bt?  El?  At? 

four  flats—   Bt?  El?  At?  Dt? 

five  flats—     Bt?  El?  At?  Dt?  Gt? 
Gt?—  gt?  at?  bt>  ct>  dt?  et?   f  six  flats—     Bt?  El?  At?  Di?  Gt?  Ct? 

Ct?—  ct?   dt?  el?   ft?   gt?  at?  bt?  seven  flats— Bt>  El?  Al?  Dt?  Gt?  Ct?  Ft? 

Some  interesting  facts  are  mow  appare?it. 

1.  That  fifteen  major  keys  are  possible  by  name,  and  twelve  really  different 
ones. 

2.  That  the  letter  to  be  first  sharped  in  writing  signatures  is  the  last  one  to 
be  flatted,   and  the  first  one  flatted  is  the  last  one  to  be  sharped. 

3.  That  all  the  keys  might  be  represented  by  either  sharps  or  flats  instead  of 
using  both. 

4.  That  each  of  the  above  cycles  of  keys  brings  us  back  to  the  starting  letter, 
only  that  it  is  sharped  or  flatted. 

5.  That  to  take  4  of  a  key  with  sharps  in  the  signature  as  1  will  get  a  sig- 
nature with  one  less  sharp,  and  to  take  5  of  a  key  with  flats  in  the  signa- 
ture as  1  brings  a  signature  with  one  less  flat.  Or  to  repeat,  to  take  4  as 
1  the  signature  will  be  one  more  flat  or  one  less  sharp,  and  to  take  5  as  1 
the  signature  will  have  one  more  sharp  or  one  less  flat. 

Section  Ten. 

MINOR   KEYS  AND   SCALES. 

In  olden  times  a  great  number  of  modes  or  ways  of  arranging  the  intervals 
of  the  scale  were  in  use.  At  the  present  time  with  the  different  nations  there 
are  still  various  wa}'S,  but  we  recognize  two  in  particular  and  use  them  almost 
exclusively.  They  are  the  Major  Mode,  treated  in  section  nine,  and  the  Minor 
Mode,  the  subject  of  this  section.  The  minor  mode  is  not,  however,  cultivated 
among  the  masses  to  any  marked  degree.  We  can  easily  learn  to  love  the 
minor  music,  and  that  with  considerable  profit.  In  fact  this  mode  expresses 
sympathy   and   tenderness  unspeakable,    and  yet  it  may  thunder   forth   majesty 


RUDIMENTARY  STATEMENTS. 


129 


do 

pi C— 

-c 1— - 

ti 

-7 b- 

-b 7- 

la 

-6— a- 

— ab — 6- 

fa 

-4 f- 

-f 4- 

mi 

-3 e- 

— *■? — 3- 

re 

-2 <l- 

-d 2- 

do 

—  1 c— 

-c 1  — 

la 


fa 


la 


and  power  that  will  move  us  to  a  feeling  of  awe. 
Following  is  the  order  of  seconds  for  the  basic  minor 
scale:  From  i  to  2  a  major  second,  from  2  to  3  a 
minor  second,   from  3  to  4  a  major  second,  from  4  to 

5  a  major  second,  from  5  to  6  a  minor   second,  from 

6  to  7  an  augmented  second  (a  second  that  is  larger 
than  a  major  second),  and  from  7  to  1  a  minor  second. 
Let  us  compare  the  minor  scale  with  our  major  scale. 

Starting  with  C  as  1,  D  will  be  2  in  each  scale.  E 
is  all  right  for  3  in  the  major,  but  in  the  minor  we 
shall  have  to  use  Et>.  F  and  G  are  in  common  as  4 
and  5  in  both  scales.  At?  is  required  for  6  in  the 
B  and  C  are  again  common  in 


minor,  while  A  is  correct  for  6  in  the  major 
both  as  7  and   1. 

Note. — From  A  V  to  B,  6  to  7  in  the  minor,  is  the  augmented  (enlarged)  second. 

Briefly  stated  the  minor  scale  is  the  major  scale  with  its  3  and  6  flatted. 
This  form  is  known  as  the  Harmonic  Minor  Scale  since  in  Harmony  we 
extract  our  chords  mainly  from  this  form.  The  augmented  second  between  6 
and  7  is  an  unmusical  interval  and  difficult  to  sing.  For  the  above  reasons 
we  use  a  different  form  of  the  scale  when  we  wish  to  pass  from  6  to  7  or  from 
7  to  6.  That  is  called  the  Melodic  Minor  Scale,  or  form,  because  it  simplifies 
and  beautifies.  It  does  away  with  the  augmented  second.  Following  are  both 
forms  of  the  minor  scale. 

MINOR   SCALE,    HARMONIC    FORM. 


=fc 


dm 


o 


-g-fr; 


12       3       4       5       6       7       1 

+      -      +      +      -'  -t 


7       6       5       4       3       2       1 
la     ti      do    re     mi     fa     si      la      si     fa     mi     re     do     ti      la 


MINOR   SCALE,    MELODIC   FORM. 


i 


-<&  —  gg \>T 


6       5 

4 

3 

2 

1 

fa     mi 

re 

do 

ti 

la 

— — <y — t*£s 

12       3       4       5       6       7       1 

J_  _|_  J_  L  _i_  _l_ 

la      ti      do    re     mi      fi      si     la 

The  minor  scales  use  the  same  signatures  as  the  major  scales,  but  C 
major,  and  c  minor  do  not  use  the  same  signature.  The  minor  keytone  will 
be  found  two  seconds  below  the  major  keytone,  or  on  6.  La  is  taken  as  the 
keytone  instead  of  Do.  The  major  and  minor  keys  which  have  the  .same 
signature  are  said  to  be  Relative  Major  and  Minor.  Count  down  from  C  a 
minor  second  and  a  major  second  and  you  find  a.  This  then  is  the  minor 
key  relative  to  C  major,     e  minor  is  relative  to  G,  etc. 


130 


EDUCATIONAL  VOCAL  STUDIES. 


TABLE   OF   KEYS. 

The  following  is  a  condensed  form  from  which  to  memorize  the  names 
and  signatures  of  all  the  major  and  minor  keys.  There  are  of  course  fifteen 
minor   keys   by   name   and   twelve    really   different   ones,    making   all   together 

thirty  keys,   major  and  minor.     Or   in    still   a  better   sense   only   fifteen.     The 

f  E  b 
following  taken  from  the  table  below,    3^'s  J  says    this:    "Three    flats    are 

the  sign    for   the  *  keys   of   Eb   major  and  c  minor."     The  capital  letters  stand 
for   major   keys   and  the   small    ones   for   minor   keys. 


3?s{fjf 


KEY    TABLE.      TO    BE    MEMORIZED. 


*'S{gi± 

iMcS 
1 a  ff 


it> 


t>'s 


3i?'s 


Et? 


4  P's  J  f 


5>'s{ 


Di7 
bt? 


b's{ 


ob 


7^*1  oi? 


ai 


Nojhn  re 

and     i-  -< 
No  fr's.j    I  a 


TABLE   OF  SCALES. 


The  following   is   a   complete  list   of   all   the   major   and   minor   scales   as 
lepresented  in  regular  musical  notation: 


1.      MAJOR   SCALES. 

c. 


-#- 

A 

— <$>— 

-- 

-& 

— <^— 

<£j> 

^ 

— &— 

— &— 

^ 

— — — 

C7 

0 

t£s- 

0 

tSt- 

C\' 

*? 

1^ 

9s — T~ 

O 

<> 

A 

G. 

H*fi 

A 

A. 

—<&— 

i£* 

- 

"3 

—&— 

—&— 

^] 

- 

VT\ 

0 

XA)        — 

%J 

c\.£ 

/\ 

A 

•  l.Jt 

a 

tn 

^    Tl 

r^ 

' 

& 

1    ' 

^ 

*" 

C7 

/v 

RUDIMENTARY  STATEMENTS. 


131 


D. 


°       g- 


» 


A. 

1st 


:^z 


Ptf 


7? 


-£= «- 


f* 


» 


B. 

V  ?T.tf"it 

/  "5  f  J 

frn  tt    if                                        m      ^'      " 

— »          V          — 

v.;           TT                               ,-,       o        n 

!—          £s         — 

J             -a-   -^-    ~ 

4^'**    Sn                                                      r~<          ~ 

□        ^, 

)•"&■"                               o        c^         ^ 

t^                   ,V                       Q, 

-^    '  5    > JJ.     *         O        ° 

°           C7 

1 ^4^ 

'    ' 

.a 


fc 


"Z? 3- 


"^  Z?         ■  — 


^±-#- 


grants: 


"7ST 


_— I o       ES 


3W 


132 


EDUCATIONAL  VOCAL  STUDIES. 


F. 


V    1                                                                                                  =3            ^ & 

a.    v 

/  h                                     -n       ^ 

&    ^i 

rn17               —      o 

"        o        — 

V-U                   3 

~         /\ 

Rl                                                                a- £ 

» 

2^                <s     ^    ^     -      

~     B — s — e: 

^                       O                       ,— 1 

i 


B>. 


-T7 — a- 


—     g  — — ~ 


-^-    -zr 


ife 


-o — ^ — i-^ — — ^ 


F> 

A 

A 

/  |j  k 

C^ 

i i 

X3 

^j    " 

w 

c 

^ 

—I 

S2. 

-^- 

t£s- 

JQ_ 

-B- 

iV 

rv  h 

o 

<S> 

*  I.,  P       A 

A 

-^  b  h 

^  P 

A>. 


t££ 


±e — s: 


§a^ 


-g — g- 


g         £/ 


faE       o- 


dK 

V  i  P  b 

/t  b  hli 

i^~ 

ith     *  b 

g 

<5 

\j)        u          — , 

o 

-■??- 

A 

A. 

-<?- 

n 

A. 

t~"\*    1-1  1 

'■x 

c^ 

*  1.1  p  k    ~      7 

V7 

^  b  hi 

^2-b 

GK 


i  "  b  h 

— — 

□ 

— <S" < 

p" ^~ 

"O 

— — — 

b  hi  " 

"*3 

^3 

"  b 

C7 

^^ 

i^s 


RUDIMENTARY  STATEMENTS. 


133 


Ci7. 


m 


a  ~g- 


W- 


-O cr- 


SttSP^s 


-Es «*- 


^  O 


n 


II.       MINOR   SCALES. 

a,  Harmonic  Form. 


^n      IK3 

-B- 

S         tfcr?              «a 

4— 

„        O        ^      IT' 

■ff                    ™              O              _, 

^         A        

m — °-                              - 

.    .                            _■"--■    <?        'a 

r\* 

i-        S^ 

B^        r- 

yi— 

■  A     .^      o      t".  it 

tt                                  ^>           C            A                                  -        - 

□ 

1—1 

4 


e,  Harmonic  Form. 


m 


fe       n     |=B=$^ 


pa 


-■?? — A. 


%*-     —     —%*- 


b,  Harmonic  Form. 


H 


-ffg — a— ra— flg 


9* 


o ^- 


f  J,  Harmonic  Form. 

ft! 


1 


1k-s'Fg=*' 


Pjl 


B: 


ctt,  Harmonic  Form. 


ft 


^a 


-^r-^g- 


p*fe 


-^ — a- 


-•^ — s: 


fc 


-#=- 


B*        <y 


134 


EDUCATIONAL  VOCAL  STUDIES 


gQ,  Harmonic  Form. 


5 


C7 


m 


* 


^  ^7 


m 


r~i         cd 


fc 


^        ^> 


dtt,  Harmonic  Form. 


S5 


~yg>       g      -=a — yz? 


i^g 


X-^-    -C3-     -n-    x<s>- 


f 


an,  Harmonic  Form. 


ifat 


ias 


I3E: 


T-;      X<2- 


Xg 


g^ 


Ma 


x^ 


3E 


o       ^ 


p# 


d,  Harmonic  Form. 

1/  i 

/5   b 

-i   n<=> 

—      £,5> 

irh "                              — 

o 

^     Tf 

ff 

Vll                   <-~       /\ 

/\ 

J/           □        c 

rs.      »^- 

JZL 

-°-    $9- 

r^ 

EJ 

£-V.                                                            ,s               W 

1 

»).,                 _              V              ^ 

•c 

-,       I 

-^  b 

- 

1 

g,  Harmonic  Form. 

D       In 

JJ.^ 

n 

rn      J+^, 

[)  iU 

^     *»> 

TT 

vj 

rZ7 

<m         n      ^      — 

VM >          n 

Rf^> 

^   gg> 

n 

-^^S^       „ 

I^fT : v7 

— e> — 

— *■ — ff 

ff 

— <3— 

C7 

;- 

[1            _            ,_,            £i 

* — ' 

V 

c,  Harmonic  Form. 


mfc 


g^ 


-G«2 ^ 


R>-c- 


RUDIMENTARY  STATEMENTS. 


135 


f,  Harmonic  Form. 

0      hi  1 

V  i  v  b 

— i      U'53 

1=1  b^ 

AH- ~ 7s ^ 

o 

^      1 

i 

o 

^ 

\j)             n        3 

— "S>— 

en 

r\*  h  i                                                 i- ■     •    — - 

J"i  ~  b 

h         U<^ 

Ua 

s  b  h                            — 

o 

lii,         X| 

i 

o 

^-n_^ A r 

A 

— V— 

□ 

b  |?,  Harmonic  Form. 

n    k  i 

V  i  ™  b 

A  b  hi                                                                   l            _, 

—      Li 

Ifh    p  b                                 ^ 

~-,     rj£> 

fi^ 

V  /           ^                                      — i         o- 

1 

u  -^  "    : 

— 5- — 9^— 

□ 

□—kj, 

z^ 

-■^l- 

"EX 

R^H = o °~ 

_B». *^— 

*F— 

o 

o 

— - — 

S   b  hi     a      v 

^T- 

— FPb 

r" 

ej?,  Harmonic  Form. 


£ 


Se 


^ 


j?" 


Ija.    ^:    ^:  t|c 


sa 


fife 


ab,  Harmonic  Form. 


jfr        -S-      -glj? 


Sfe 


lfc>         g      pg=frg 


iH| 


III.     minor  scales  (only  a  few  in  this  form), 
a,  Melodic  Form. 

-HK-fr  -  *  ^ 


-^ — <^- 


-^   ^- 


3 — <?- 


9t 


is 


n 


—       o       S 


c,  Melodic 
r>    h 

Form. 

V  i  17 

/£.  b  h 

L 

h^ 

n 

n 

ffW     P 

a 

H 

\) 

^■K 

kJ 

J          _s_      V 

W 

V><v 

___ 

-B- 

—£2— 

<^^ 

-e- 

£"">•   h 

o 

H 

■  l-i  P             ^ 

A 

-/     k    L    □ 

i_j 

^   17 

136 


EDUCATIONAL  VOCAL  STUDIES. 


d,  Melodic  Form. 


rfz ■ — K — =~ 

/L  b 

h^-, 

^tt^^ 

□          gy 

f(\S                                          —       °      1         v 

— 

\])                                                  -v                 A                                                               " 

/>, 

%J          a      ~ 

^    cK 

#*" 

-O-      J=L      ^. 

IX 

□ 

C\'                                 "         ^ 

o       *\ 

w 

')-,            r-          v          i-i 

o 

-^  b 

gft,  Melodic  Form. 

a 

n         n        -> 

V  TriFif 

o    fl^ 

"\l 

>L   S  ftli-                  ^     ° 

v     TT 

c 

fh    tf     J     n       w 

^7 

YsL>           tT      a 

L    ]ir 

S"\"T    ill 

m 

*  1..  +  LJ.TT+' 

t>    S^ 

&          vj          ^ 

S      Z  riir                            -        ^ 

°  tr 

C7 

TT   ^IT      , — ,        <J>        " 

<C 

ft    a                                                                                                                           - 
eK  Melodic  Form. 

y  LKbh 

k^i- 

-S« 

n 

-n         fi> 

ffaW2 : v- 

-o — t)^1- 

-^    - 

^ — 

— e— 

c 

A 

V  \)          V                 <j>       Zi. 

V 

v^                     □ 

o    _S£sr 

*» 

«:    ^    ^ 

■4^- 

o 

£--V.       L,    ,                                 ~            /\             ^ 

Zi 

k  I.,   P  U  L    □          c 

(—1 

2_Hlb 

NOTE.— Use  same  plan  to  form  all  other  minor   scales  in  melodic  form— sharp  6 
and  7  ascending,  and  leave  them  as  signature  makes  them  descending. 


EI.    DYNAMICS. 
Section  Eleven. 


POWER. 


When  a  tone  is  loud  we  say  it  has  much  force,  or  that  it  is  of  a  high 
degree  of  power;  and  when  a  tone  is  soft  that  it  is  of  a  low  degree  of  power. 
The  musician's  term  for  loud  is  Forte  which  is  an  Italian  word  meaning  loud. 
The  Italian  word  Piano  means  soft.  There  are  five  terms  which  may  be 
taken  as  a  scale  in  judging  the  degrees  of  power.  Between  loud  and  soft  is 
a  medium  force  called  Mezzo.  Tones  may  be  very  loud  or  very  soft.  The 
Italian  language  (from  which  come  nearly  all  musical  terms)  adds  "issimo"  to 
a  word  to  make  it  express  the  superlative  degree.  A  word  to  mean  very  loud 
could  therefore  easily  be  derived  from  forte.  In  adding  this  suffix  the  final 
vowel  is  usually  dropped,  therefore  fort(e)issimo  =  Fortissimo,  meaning  very 
loud.     In  like  manner  we  derive  Pianissimo,   from   Piano,  meaning  very  soft. 


English — 
Italian — • 
Abbreviations- 


Very  soft. 
Pianissimo 
-PP 


MEMORY    AID. 

Medium  Power  Loud  Very  loud 

Mezzo  Forte  Fortissimo 

m  f  ff 


Soft 

Piano 

P 


RUDIMENTARY  STATEMENTS.  137 

There  is  a  power  between  medium  and  soft  which,  is  frequently  used.  It 
is  Mezzo  Piano,  abbreviated  mp.  The  Mezzo  Forte  represents  a  force  between 
medium  and  loud,  abbreviated  mf.  Occasionally  fp  will  be  found  but  it  can- 
not mean  between  loud  and  soft  because  then  it  would  mean  medium.  It 
means  that  the  note  over,  or  under,  which  the  sign  may  be  found  shall  be 
loud  and  the  next  one  soft.  Forzando,  abbreviated  fz,  will  be  found  sometimes, 
and  means  to  attack  a  tone  solidly  with  pronounced  accent,  then  quickly 
diminish  the  tone  and  sustain  it  softly. 

Very  beautiful  artistic  effects  are  produced  when  we  pass  gradually  from 
one   force    to    another.     When    we    increase    the    force    gradually    we   make   a 

crescendo,  abbreviated  cres.,  or  represented  by  — = z.     We  make  a  diminuendo 

when  we  pass  gradually  from  any  power  to  a  lesser  one.  The  abbreviation  is 
dim,  and  the  sign  is  z_  - — .  These  effects  are  often  mistaken,  as  beginners  seem 
to  think  that  to  diminish  they  must  begin  forte  or  fortissimo,  and  to  increase 
the  power  they  must  begin  piano  at  least.  The  terms  simply  mean  to  pass  into  a 
greater  or  a  lesser  degree  of  force.  One  may  begin  at  forte  and  increase  to 
fortissimo,  or  at  piano  and  diminish  to  pianissimo,  or  begin  at  any  degree  and 
increase  or  decrease.  The  effect  obtained  by  increasing  any  tone  and  dimin- 
ishing it  again  is  called  a  Swell.  The  sign  is  -^r:  ==-.  The  cres.  or  dim. 
maj-  consume  much  or  little  time.  By  these  various  means  of  expression  a 
great  variety  of  effects  can  be  made.  In  fact  music  depends  largely  upon  the 
contrast  of  the  force  and  accent  of  the  tones  for  its  Expression. 

Section  Twelve. 

OUAIJTY. 

Not  much  needs  to  be  said  here  about  tone  quality.  The  study  of  tone 
production  more  properly  belongs  to  advanced  singing.  There  are  not  many 
marks  and  signs  in  regard  to  quality,  that  being  left  most  largely  to  the 
judgment  of  each  individual.  It  practically  needs  no  notation  as  it  belongs 
wholly  to  the  expressional  side  of  music.  The  words  or  the  music  or  both 
must  create  some  sentiment  for  the  singer,  which  feeling  or  thought  expresses 
itself  through  clear  or  somber  tone-quality  and  the  manner  in  which  the  tones 
are  accented.  Laughing  and  crying  are  physically  very  much  alike,  but  the 
quality  of  tone  decides  whether  we  express  gladness  or  sorrow.  There  are  two 
general  qualities  of  tone — Clear,  and  Somber.  They  may  be  so  intermingled  as 
to  make  very  many  effects.  The  words  Grave,  Pastoral,  Jubiloso  and  the  like 
are  used  as  names  of  tempo  but  they  more  particularly  suggest  style  and 
quality.     (See  Dictionary.) 


PART   FOUR 


VOICE  CULTURE. 


When  one  thinks  of  the  possibilities  of  improvement  along-  the  line  of  voice 
production  the  subject  becomes  very  interesting.  It  is  suprising  to  note  how- 
little  is  known  by  people  in  general  about  a  thing  in  such  common  use  as 
the  voice.  Very  little  voice  teaching  has  been  done  in  this  country,  and  that 
for  only  a  short  period  of  time.  Among  the  folk  of  the  rural  districts  and 
smaller  towns  we  are  not  surprised  that  there  are  those  who  do  not  know  of 
the  valuable  habits  which  may  be  acquired  for  the  comfort  of  themselves  and 
the  pleasure  and  benefit  of  others.  Singers  and  speakers  alike  are  craving 
knowledge   along  these  lines. 

The  breath  is  the  dynamo  for  the  voice.  It  is  not  so  essential  that  we 
gain  much  breath  as  it  is  that  we  have  perfect  control  over  what  we  do 
possess.  It  is  however  true  that  a  very  large  percent  of  us  are  far  below 
normal  in  our  breath  capacity.  That  fact  is  alarming  not  only  from  the  vocal 
standpoint  but  also  because  a  scanty  breath  supply  means  a  weakened  body. 
Tests  made  by  the  author  show  that  more  than  fifty  percent  of  the  subjects 
he  has  recorded  are  able  to  exhale  less  than  half  the  air  that  scientists  claim 
to  be  normal.  Allowing  for  a  wide  margin  of  individuals  we  should  have  a 
capacity  of  from  225  to  400  cubic  inches  of  air.  About  seventy-five  percent  of 
the  women  make  their  first  test  read  below  100  inches.  Men  usually  exhale, 
on  first  test,  from  100  to  200  inches.  We  believe  the  statement  a  fair  one 
when  we  say  that  nearly  all  vocal  defects  may  be  traced  directly  or  indirectly 
to  either  a  small  breath  capacity  or  to  a  poor  breath  control,  usually  the  latter. 
There  are  of  course  those  strong  men  and  women  among  us  who  break  the 
above  records.  They  stand  as  examples  and  verify  our  conviction  that  large 
breath  capacity  and  good  breath-habits  bring  vigor  and  vitality  to  our  physical 
powers. 

(138) 


VOICE  CULTURE.  139 

Another  accomplishment  in  tone  production  is  the  correct  placing  of  the 
voice  or  the  proper  resonance  or  reinforcement  of  the  tone.  The  breath  being 
properly  directed,  the  resonating  factors  will  respond  to  each  tone  sung  or 
spoken.  These  are  the  mouth,  nasal  cavity,  and  other  cavities  of  forehead, 
nose  and  face,  together  with  tissues  and  bones  of  the  upper  part  of  the  body, 
and  to  a  greater  or  lesser  degree  the  entire  body.  The  timbre  of  the  tone 
depends  upon  which  cavity  or  part  of  cavity  is  responding  best  for  the 
reinforcement  of  the  vibrations.  If  the  resonance  of  the  back  mouth  is 
dominating  the  tone  it  will  be  of  a  sad,  somber  quality.  If  the  front  mouth 
and  the  nasal  cavity  are  the  most  active  agents  the  tone  will  be  sparkling  and 
clear.  The  carrying  properties  of  the  voice  depend  much  upon  the  placing. 
Every  tone  or  word  should  sound  as  though  it  were  reflected  from  the  hard 
palate  into  the  ear  of  the  auditor.  Tones  from  the  hard  palate  alone,  however, 
sound  cold  and  hard — unmusical. 

There  are  three  sets  of  muscles  acting  at  the  same  time  in  singing  and 
speaking  and  because  of  this,  conditions  arise  which  cause  many  blemishes  in 
words  and  tones.  The  breathing  muscles,  the  pitch-making  muscles,  and  the 
vowel-forming  muscles: — these — and  each  set  consisting  of  numerous  muscles 
— should  work  independently.  The  tendency  is  for  each  to  be  influenced  by 
the  other  two.  In  singing,  the  linguistic  elements  usually  suffer  most,  and 
therefore  singers  should  put  forth  special  effort  to  secure  a  pure,  clear  pro- 
nunciation while  singing.  Even  to  speak  so  that  one  is  clearly  understood  is 
a  worthy  attainment. 

There  is  one  other  point  we  wish  to  raise  in  this  connection.  It  is  a 
matter  of  expression  rather  than  one  of  technic;  but  all  technic  is  but  a  means 
of  expression,  not  an  end  in  itself.  We  refer  to  the  Sostenuto  or  Legato  style 
of  singing.  That  manner  of  using  the  voice  and  saying  the  words  which 
beautifully  connects  the  tones  and  words  instead  of  breaking  them  apart  as 
though  the}7  were  quite  brittle.  Inexperienced  singers  seem  to  think  a  detached 
style  necessary  to  clear  diction,  but  that  is  a  most  erroneous  notion — the  very 
opposite  is  true.  Connect  the  words,  sustain  the  tones,  and  make  the  enun- 
ciation exact  and  you  will  be  understood  and  your  message  appreciated. 

We  wish  to  insist  that  the  most  important  thing  by  far  is  that  a  singer 
or  speaker  must  have  a  message  which  is  vital  and  which  he  must  tell.  That 
will  then  bring  spirit  into  the  singing  or  speaking — one  must  have  message 
and  technic. 

The  writer  believes  that  some  simple  exercises  will  be  appreciated.  We 
give  only  a  few  and  are  aware  that  not  the  doing  of  many  exercises  will  suffice, 
but  that  the  perfect  understanding  and  doing  of  comparatively  few  will  fully 
develop  the  voice.  Yet  the  limited  space  here  allowed  and  the  scope  of  this 
volume  do  not  admit  all  that  should  be  practiced. 


140 


EDUCATIONAL  VOCAL  STUDIES. 


Exercises, 

I.  BREATHING. 

No.  i.  Secure  Diaphragmatic  breathing  (make  this  type  a  life-habit — it 
is  nature's  way). 

No.  2.  Practice  the  deep  breath,  the  high  breath,  the  front  breath,  the 
back  breath,  and  the  lateral  breath. 

No.    3.     (Deep,   front,  and  back  breath  combined.) 

a.  Inhale  slowly  and  exhale  slowly. 

b.  Inhale  slowly,  hold,  exhale  slowly. 

c.  Inhale  slowly,   hold,  exhale  quickly. 

d.  Inhale  quickly,   hold,  exhale  slowly. 

e.  Inhale  quickly,  hold,  hiss  (very  small  opening). 

f.  Inhale  quickly,   hold,  sing  a  or  6  or  loo. 

No.  4.  Breathe  slowly  and  blow  vigorously  through  a  very  small  opening 
at  the  lips,  being  sure  that  the  throat  is  loose  and  well  open. 

No.  5.  a.  Take  a  medium  breath,  exhale  one  second  and  hold  the  breath 
the  next  second,  and  so  on  until  the  breath  is  all  exhaled. 

b.  Lengthen   the   interval. 

c.  Shorten  the  exhalations  and  lengthen  the  holds. 

II.  TONE    PRODUCTION. 

Place  the  tones  well  in  front  and  up  in  the  mouth. 

No.  1.  a.  Sing  three  long  tones  on  same  pitch  with  your  best  vowel; 
5,  a,  or  a  (one  breath,  but  use  it  all).  Repeat  many  times,  changing  to 
pitches  higher  and  lower. 

b.  Sing  five  tones  as  above  with  following  vowel  groups,  changing 
pitches  frequently  and  repeating  many  times,  aiming  to  keep  the  same  tone- 
quality  with  the  different  vowels  within  a  group: 


a  -  o, 


-o,     o-a-o-a-o, 


-o-a-a-o,     a-o-a-a-a, 


a-o-oo-o-a,     a-o-e-o-a,     a-a-e-oo-o,     o-a-i-e-o,     a-e-1-00-0. 
Many  other  groups   are   possible   and   would  be  profitable.     If  you   under- 
stand the  principle,  form  those  which  your  individual  voice  may  require. 

III.      SINGING. 
No.   1. 


s 


itefe 


&m 


w       X 


^ 


la 
la 
15 
15 
la 
la 

la.  la  la 

la 

la  la, 

lo  lo  15 

15 

15  15 

lii  la  la 

la 

la  la 

la     la   etc. 
la 


lo     lo  .etc. 
15 


la     la   etc. 
la 


1 


^ 


I 


VOICE  CULTURE. 

No.   2.     Transpose  higher  and  lower. 


141 


$&E±3m 


&-^r-F^ 


»  il  »  '  ■ 


i± 


lii    lii    lii    lii 

la 

o 

a, 


la  lii  lii  lii  lii  lii  lii  lii    lii 


^3=& 


— ^ — k.      P  — k J— j        ^   ^   ^— — ^--gj " j — # 


Eji^^^^=rnmTO£^^ 


No.  3. 


cfci 


ft 


i 


&* 


:ri: 


;-r 


3 


lii  lii  lii  lii  lii  lii  lii  lii  lii 

po  tu  lah  ba  dii  ma  ni  po  tu 

ah-o  ah-o  ah-o        ah-o         ah-o         ah-o        ah-o        ali-o        ah-o 
1                I  Iilii-Ii 

No.  4.     Transpose. 

f  Andante  moderate. 


& 


.4: 


gfeafe^g^g 


43^ 


<d — • — + 


yah  yah  yah  yah  yah  }'ah  yah  yah     la  la  la  la  la  la  la  la  la  la  la  la  la  la  la  la  la 
No.   5. 


n 


.p. 


4 


m 


tz5: 


W 


-3: 


££ 


•— ± 


JM     P 

w    -Ah 


±~± 


la     la    la   la    la   la    la   la 

ii 

o 

a 

e 


azgtf^^Bg^g^^TTTtto 


Jj   r— 1 

_H *■__ 1  I 


fe^ 


I 


-A—»- 


JSr± 


?3^ 


U  ■    ' 


-*-s* 


142 


EDUCATIONAL  VOCAL  STUDIES. 


No.   6. 

A  ndante — Modem  to — A  llegro. 

> 

1 p"*" 1 

"■ — i 1 i""-i 

1  p"  r4  fed — ^j.    3— *— 4 — 

-u  •  "  •'  J  i- 

"T — ^ — ^ — — — — i 

H — P — 3 — * — . — 1 — 1 

1  k—J B — M — * ' 

la   la   la   la   la    la    la 
la  ba  da  me  ni  po  tu 

la 

o L 

a 

e 


£*=i=l 


m 


3  »  j  . — — i — i — -<>-* 


i 


^^ 


^s^ 


^^J: 


(2nd)  tu  la     ba 


No.   7. 


S-fe 


fcgEgj  ^v*=l  g  j)vj^ir[^i-^M-j^^^^^s 


ha 
ho 
ha 
he 
hi 


ha  ha 

ho  ho 

ha  ha 

he  he 

hi  hi 


fc=fe 


#=fc 


r>    r>    fc 


A— a— A— a— * 


«  ^ 


vs- 


fcrJ.  A  v.  r^  [),  h 


L>     '  U     '  v> 


~- 


b_ £-a_j«— ~»    3   »    1   ?  i_5 


^nn 


l>        P        P 


g-g-g  ■  1- 


1  *  1  « Eg 


^  Jji^zjj^j^^j^^^ 


No.  8.  Transpose. 
Adagio. 


i 


zb 


» 


3=^5 


4*  J 


-^ — =*- 


— h 


-J — 4- 


b  b  o  b  b  o 

d  d  o  d  d  o 

g  g  o  g  g  o 

bo  do  go  bo  do  go 

b  d  g  b  d  g 


-zst- 


PART    FIVE 


DICTIONARY  OF  MUSICAL  TERMS. 


Note. — The  following  words  are  taken  with  their  pronunciation  and  definition 
from  ELSON'S  MUSIC  DICTIONARY  by  arrangement  with  the  publishers,  OLIVER 
DITSON  CO.,  Boston,  Mass.  This  book  should  be  in  the  hands  of  every  one  who 
studies  music  seriously. 

VOWEL    SOUNDS    AS    USED    IN    PRONUNCIATION. 

a  as  in  ah;  a  as  in  hate;  a  as  in  at;  e  as  in  tree;  e  as  in  eh;  I  as  in  pine;  I  as  in  pin;  6  as 
in  tone;  6  as  in  dove;  6  as  in  not;  u  as  in  up;  u  the  French  sound  of  u. 


A  cappella  (It.)  (a  kap-/>e/-lii.)  In  the 
church  or  chapel  style,  that  is,  vocal  music, 
unaccompanied.  So-called  because  the 
music  of  the  Sistine  chapel  at  Rome  was 
purely  vocal.  Almost  all  of  the  old 
Masses,  motetts,  and  madrigals  were  "a 
cappella." 

Accelerando  (It.)  (at-tshel-er-rarc-do.) 
Accelerating  the  time;  gradually  increas- 
ing the  velocity  of  the  movement. 

Accidentals.  Occasional  sharps,  flats,  or 
naturals  placed  before  notes  in  the  course 
of  a  piece.  The  composer  may  place  an 
accidental  before  any  note  whose  meaning 
may  be  considered  doubtful.  See  Chro- 
matic Signs. 

Adagio  (It.)  (ah-dah-jio.)  Slow.  This 
term  indicates  a  movement  quicker  than 
largo  and  slower  than  andante. 

Ad  libitum  (Lat.)  (ad-/i&-i-tum.)  At  will; 
at  pleasure;  changing  the  time  of  a  partic- 
ular passage  at  the  discretion  of  the  per- 
former; also  a  part  that  may  be  omitted  if 
desired. 

Agitato  (It.)  (aj-i-#i-to.)  Agitated,  hurried, 
restless. 


Air.  A  short  song,  melody,  or  tune,  with 
or  without  words.  The  upper  voice  in  a 
harmonized  composition.     (See  Aria.) 

Al  fine  (It.)   (al  fee-ne.)     To  the  end. 

Allegretto  (It.)  (ol-le-gret-to.)  Rather 
light  and  cheerful  but  not  as  quick  as 
Allegro. 

Allegro  (Fr.  and  It.)  (al-My-gro.)  Quick, 
lively;  a  rapid,  vivacious  movement,  the 
opposite  to  the  pathetic,  but  it  is  frequently 
modified  by  the  addition  of  other  words 
that  change  its  expression. 

Alto  (It.)  (/(/-to.)  High.  In  vocal  music 
the  highest  male  voice,  sometimes  called 
the  counter  tenor.  In  mixed  chorus  it  is 
the  part  next  below  the  soprano  sung  by 
low  female  voices.     *     * 

Andante  (It.)  (an-Jrtw-te.)  A  movement 
in  moderate  time  but  flowing  easily,  grace- 
fully. Andante  literally  means  "going." 
In  the  18th  century  it  was  often  used  as 
meaning  "steadih,"  "distinctly."  At 
present  it  often  indicates  a  degree  of 
expression  and  tenderness  as  well  as  a 
moderately  slow  tempo.  This  term  is 
often  modified  both  as  to  time  and  style 
by  the  addition  of  other  words. 


(143) 


144 


EDUCATIONAL  VOCAL  STUDIES. 


Andantino  (It.)  (an-dan-ftjg-no.)  A  little 
slower  than  Andante  is  the  literal  meaning 
of  Andantino,  but  it  has  become  a  doubtful 
term,  and  is  generally  used  as  meaning 
quicker  than  Andante. 

Anima  (It.)  (cm-e-ma.)  Soul,  feeling, 
animated,  lively. 

Anthem.  A  vocal  composition,  the  words 
of  which  are  usually  selected  from  the 
Bible,  used  in  church  either  with  or  with- 
out organ  accompaniment.  See  Stainer  & 
Barrett. , 

Antiphony.  The  response  of  one  choir  to 
another  when  an  anthem  or  psalm  is  sung 
by  two  choirs;  alternate  singing  or  chant- 
ing. 

Apollo.  In  ancient  mythology,  the  god  of 
music,  and  said  to  be  the  inventor  of  the 
lyre. 

Aria  (It.)  (a-re-a.)  An  air;  a  song;  a  tune; 
sung  by  a  single  voice  either  with  or  with- 
out an  accompaniment.     *     * 

Assai  (It.)  (as-sa-e.)  Very,  extremely;  in 
a  high  degree,  as  Allegro  Assai,  very 
quick. 

A  tempo  (It.)  (atem-p5.)  In  time;  a  term 
used  to  denote  that  after  some  deviation 
or  relaxation  of  the  time,  the  performers 
must  return  to  the  original  movement. 

Attacea  (It.)  (at-/«£-ka.)  Go  on.  Begin 
the  next. 

Bar.  Lines  drawn  perpendicularly  across 
the  staff  to  divide  it  into  measures;  the 
term  is  also  applied  to  each  of  these  meas- 
ures by  European  usage,  but  strictly  the 
bar  is  the  line  itself,  not  the  measure  it 
defines.  The  bar  came  into  use  in  music 
after  1600. 

Bariton  (Fr.)  (ba-ri-#m/z.)      ^  .         . 

'.  ,  _  _     /  A  male  voice 

Bantono  (It.)  (bar-re-fo-no.)  Y  intermediate 

Baritone.  )  in  respect  to 

.pitch    between   the   bass    and   tenor,    the 

compass  usually  extending  from  first  line, 

F  Clef,  to  F  above  the  staff. 

Bass.  The  lowest  or  deepest  male  voice; 
the  lowest  part  in  a  musical  composition. 

Baton  (Fr.)  (Bahtong.)  A  conductor's 
stick. 

Brace.  A  character  curved  or  straight  used 
to  connect  together  the  different  staves; 
the  leather  slide  which  tightens  or  loosens 
the  cords  of  a  drum. 


Cadence.  A  close  in  melody  or  harmony, 
dividing  it  into  numbers  or  periods,  or 
bringing  it  to  a  final  termination. 

Calando  (It.)  (ka-/aw-do.)  Gradually  di- 
minishing the  tone  and  retarding  the  time; 
becoming  softer  and  slower  by  degrees. 

Canon.  The  strictest  form  of  contrapuntal 
composition,  in  which  each  voice  imitates 
exactly  the  melody  sung  or  played  by  the 
first  voice.  The  word  is  derived  from 
"Canone,"  a  rule  or  law.  Canon  was  the 
earliest  form  of  skilful  composition.  The 
oldest  existing  contrapuntal  work  of  merit 
is  a  canon  entitled  "Sumer  is  icumen  in," 
which  is  for  four  voices,  and  is  supposed 
to  have  been  composed  about  A.  D.  1200. 

Cantabile  (It.)  (kan-Zct-bi-le.)  That  can  be 
sung;  in  a  melodious,  singing,  and  grace- 
ful style,  full  of  expression. 

Cantata  (It.)  (kan-^ci-ta.)     \  ^         _       ,   . 

.    .  ..  /  A  poem  set  to 

Cantate  (Fr.)  (k&nh-tat.)  >  music;  a  vocal 
Cantate  (Ger.)  (kan-/a-te.)  )  composition  of 
several  movements,  comprising  airs  and 
recitatives;  a  short  oratorio  or  operetta 
without  action.  A  cantata  consisted  origi- 
nally of  a  mixture  of  recitative  and  melody, 
and  was  given  to  a  single  voice,  but  the 
introduction  of  choruses  altered  the  first 
character  of  the  cantata,  and  gave  rise  to 
some  confusion  in  the  manner  of  describing 
it.  Therefore  it  has  been  variously  defined. 
A  cantata  is  now  generally  understood  to 
be  a  short  work  somewhat  like  the  oratorio, 
but  without  characters. 

Carol.  1.  A  song.  2.  A  song  of  joy  and 
exultation;  a  song  of  devotion.  3.  Old 
ballads  sung  at  Christmas  and  Easter. 

Chant.  1.  A  simple  melody,  generally 
harmonized  in  four  parts,  to  which  lyrical 
portions  of  the  Scriptures  are  set,  part  of 
the  words  being  recited  ad  libitum,  and 
part  sung  in  strict  time.  A  Gregorian 
chant  consists  of  five  parts:  the  intonation; 
the  first  reciting  note  or  dominant;  the 
mediation;  the  second  reciting  note  of 
dominant;  the  cadence.  The  Gregorian 
chant  is  the  one  chiefly  used  in  the  Catholic 
and  Anglican  service.  See  Helmore's 
"Plain  Song."  2.  To  recite  musically; 
to  sing. 

Choral  (Ger.)  (ko-r«/.)  Psalm  or  hymn 
tune;  choral  song  or  tune. 


DICTIONARY  OF  MUSICAL  TERMS. 


145 


Chorus.  1.  A  company  of  singers;  a  com- 
position intended  to  be  sung  by  a  number 
of  voices.  2.  Among  the  ancient  Greeks 
the  chorus  was  a  band  of  singers  and 
dancers  who  assisted  at  the  performance 
of  their  dramas.     3.     A  refrain. 

Chromatic.  Proceeding  by  semitones.  Any 
music  or  chord  containing  notes  not  be- 
longing to  the  diatonic  scale. 

Chromatic  scale.  A  scale  which  divides 
every  whole  tone  of  the  diatone  scale,  and 
consists  of  twelve  semitones  or  half-steps 
in  an  octave. 

Chromatic  Signs.  Accidentals;  sharps, 
flats,  and  naturals.  The  chromatic  signs 
used  in  modern  music  are  the  sharp  (Jf), 
the  flat  (|?),  the  natural  (J}),  the  double 
sharp  (  x  ),  and  the  double  flat  (|?|?).  The 
natural,  or  cancel,  can  annul  the  effect  of  a 
double  sharp  or  a  double  flat,  but  if  we 
desire  a  note  to  be  flatted,  after  using  a 
double  flat,  we  must  write  (fetO,  and  if 
sharped  after  a  double  sharp  (S%).  The 
chromatics  are  also  called  "accidentals." 
The  flat  was  the  first  of  these  signs  in 
music,  and  was  used  to  indicate  the  posi- 
tion of  a  single  note — B — which  was  some- 
times sounded  as  B,  and  often  "softened" 
into  B  flat.  This  was  about  A.  D.  1000, 
when  the  letter  notation  was  in  use,  and 
ran  (for  the  scale  of  C)  as  follows:  c,  d,  e, 
f,  g,  a,  b,  T  ,  c.  The  round  b,  called  b 
rotundum,  was  b-flat,  the  square  b(h), 
called  b  quadratum,  was  b-natural.  In 
Germany,  the  note  b-flat  is  still  called  B, 
and  as  the  square  b  (  h  )  was  mistaken  for 
an  h  (of  the  German  print),  it  was  called 
"H"  and  is  called  so  to-day,  a  clerical  error 
that  has  been  perpetuated  nearly  a  thou- 
sand years.  After  some  time  the  two  b's 
were  used  as  chromatic  signs.  The  sharp 
came  in  later  and  was  originally  a  St. 
Andrew's  cross  (JJ).  Double  sharps  and 
double  flats  only  came  into  free  use  in 
music  after  Bach,  with  his  "Well-tempered 
Clavichord"  (Part  I,  1722;  Part  II,  1742), 
had  brought  in  the  use  of  all  the  keys  in 
modulation  and  composition .  In  the  music 
of  the  seventeenth  century,  the  effect  of  a 
flat  was  generally  annulled,  not  by  a  natu- 
ral," or  cancel,  but  by  a  sharp,  and  each 
accidental  was  written  as  it  occurred.  To- 
day the  effect  of  the  accidental  extends 
through  the  measure,  on  all  subsequent 
notes  of  the  same  pitch,  but  it  is  often 
allowed  to  apply  to  the  same  note  an  octave 


higher  or  lower,  if  written  on  the  same 
staff.  There  are  many  redundant  and  un- 
necessary chromatic  signs  employed  in 
music,  for  this  rule  is  followed  by  almost 
every  composer — If  a  note  can  for  any  reason 
be  considered  doubtful,  make  its  meaning 
sure  by  using  an  accidental! — 

Con  fudco  (It.)  (kon-foo-o-ko.)  With  fire 
and  passion. 

Con  rndto  (It.)  (kdn-wo-to.)  With  motion; 
not  dragging. 

Conservatory.  A  school  or  academy  of 
music,  in  which  every  branch  of  musical 
art  is  taught. 

Con  spirito  (It.)  (kon  spi-re-to.)  With 
spirit,  life,  energy. 

Counterpoint.  Point  against  point.  The 
art  of  adding  one  or  more  parts  to  a  given 
theme  or  subject.  Before  the  invention  of 
notes,  the  various  sounds  were  expressed 
by  points.  Counterpoint  is  the  support  of 
melody  by  melody  instead  of  by  chords 
(harmony.)  Hauptmann  expressed  the 
difference  between  counterpoint  and  har- 
mony by  calling  the  latter  "vertical,"  and 
the  former  "horizontal  music." 

Crescendo  (It.)  (kre-shen-do.)  cres.  A 
word  denoting  an  increasing  power  of  tone; 
it  is  often  indicated  by  the  sign  -==r. 

Da  capo  (It.)  da  &a-po.  )  D.  C.  From  the 
beginning;  an  expression -placed  at  the  end 
of  a  movement  to  indicate  that  the  per- 
former must  return  to  the  first  strain.  In 
such  a  case  the  repeats  indicated  by  dots 
are  generally  not  made  after  D.  C. 

Dal  seg-no  (It.)  (dal  san-yo.)  D.  S.  From 
the  sign  :S:.  A  mark  directing  a  repetition 
from  the  sign. 

Decrescendo  (It. )  (de-kre-shen-do.)  Grad- 
ually diminishing  in  power  of  tone  r=-. 

Diatonic  (Ger.)  (de-£i-#m-ik.)  Naturally; 
proceeding  in  the  order  of  the  degrees  of 
the  natural  scale,  including  tones  and 
semi -tones. 

Diatonic  scale.  The  different  gradations 
of  tone  of  the  scale  or  gamut  arranged  in 
proper  order  in  conformity  to  some  par- 
ticular key. 

Diminuendo  (It.)  Dim.  Gradually  decrease 
the  power  of  the  tone  ==-. 


146 


EDUCATIONAL  VOCAL  STUDIES. 


Dirge.  A  musical  composition,  either  vocal 
or  instrumental,  designed  to  be  performed 
at  a  funeral,  or  in  commemoration  of  the 
dead. 

-Dolce  (It.)  (dol-tshe.)  Sweetly,  softly, 
delicately. 

Doloroso  (It.)  (do-lo-ro-zo. )  Dolorously, 
sorrowfully,  sadly,  r. 

Dominant.  The  name  applied  by  theorists 
to  the  fifth  note  of  the  scale. 

Double  flat.  A  character  (v?)  which,  placed 
before  a  note,  signifies  that  it  is  lowered 
two  semi-tones. 

Double  sharp.  A  character  which,  when 
placed  before  a  note,  raises  that  note  two 
semi-tones.  It  is  usually  written  as  fol- 
lows: x  or  x. 

Duet.  A  composition  for  two  voices  or 
instruments. 

Dynamics.  This  term  in  music  has  refer- 
ence to  expression  and  the  different  de- 
grees of  power  to  be  applied  to  notes. 

Elegy.  A  mournful  or  plaintive  poem,  or  a 
funeral  song. 

Energico  (It.)  (en-dr-je-ko.)  Energetic, 
vigorous,  forcible. 

Enharmonic  (Ger.)  (en-har-racm-ik.)  One 
of  the  ancient  scales  or  modes,  proceeding 
by  quarter-tones.  On  the  pianoforte  these 
cannot  be  expressed;  but  on  the  violin, 
cello,  etc. ,  they  may  be  described  as  some- 
thing like  the  difference  between  G£and 
A  f ,  or  between  D  %  and  13  )?,  etc.  In 
modern  music  it  also  means  such  a  change 
in  the  nature  of  an  interval  or  chord,  as 
can  be  effected  by  merely  altering  the 
notation  of  one  or  more  notes. 

Ensemble  (Fr.)  (auh-scm/z-bl.)  Together; 
the  whole;  applied  to  concerted  music  when 
the  whole  is  given  with  perfect  smoothness 
of  style.  It  means  precision  of  attack; 
unity  of  shading.  A  morceau  d'ettsemble  is 
a  composition  for  two  or  more  parts,  more 
especially  quintets,  sextets,  septets,  etc., 
in  an  opera,  oratorio,  or  similar  work. 

Espressidne  (It.)  (es-pres-se-o-ne.)  Ex- 
pression, feeling. 

Ealsetto.  The  male  head-voice  as  distin- 
guished from  the  chest-voice.  A  singer 
who  sings  soprano  or  alto  parts  with  such 
a  voice.     Falsetti  must  not  be  confounded 


with  castrati.  A  false  or  artificial  voice; 
that  part  of  a  person's  voice  that  lies  above 
its  natural  compass. 

Fine  (It.)  (feen-ay.)  The  end;  the  termi- 
nation . 

Flat  (Ger.,  Be;  Fr. ,  Bemol;  It.,  Bemolle.) 
The  sign  y,  which  lowers  the  pitch  of  the 
note  following  it  by  a  semi-tone.  It  came 
originally  from  the  letter  b,  as  its  shape 
and  its  foreign  names  indicate.  See 
Chromatic  Signs. 

Forte  (It.)  (for-te.)     Loud,  strong. 

Forzando  (It.)  (for-tsan-do.)  Forced;  lay- 
ing a  stress  upon  one  note  or  chord;  some- 
times marked  a  >. 

Fugue  (fug.)  A  term  derived  from  the 
Latin  word  fuga,  a  flight.  It  is  a  composi- 
tion in  the  strict  style,  in  which  a  subject 
is  proposed  by  one'  part  and  answered  by 
other  parts,  according  to  certain  rules. 
(See  Elson's  Dictionary.) 

Furidso  (It.)  (foo-re-o-zo.)  Furious,  ve- 
hement, mad. 

Gamut.  The  scale  of  notes  belonging  to 
any  key;  the  lines  and  spaces  on  which 
the  notes  are  placed. 

Giusto  (It.)  (joos-tb.)  A  term  signifying 
that  the  movement  indicated  is  to  be  per- 
formed in  an  equal,  stead}1,  and  exact  time. 
Giusto  is  sometimes  used  to  indicate  mod- 
eration, as  Allegro  Guisto,  a  moderate 
allegro. 

Glee.  A  vocal  composition  in  three  or  four 
parts,  generally  consisting  of  more  than 
one  movement,  the  subject  of  which  may 
be  grave,  tender,  or  gay,  and  bacchanalian. 
The  glee  was  less  intricate  than  the  mad- 
rigal, and  was  frequently  accompanied, 
while  the  madrigal  was  sung  a  cappella.  It 
is  a  composition  peculiar  to  England. 

Grandidso  (It.)  (gran-de-6-zo.)  Grand, 
noble. 

Grave  (It. )  {grii-ve.)  A  slow  and  solemn 
movement;  also  a  deep  low  pitch  in  the 
scale  of  sounds.  The  slowest  tempo  in 
music. 

Grazidso  (It.)  (gra-tse-o-zo.)  In  a  graceful 
style. 

Gregorian  chant.  A  style  of  choral  music, 
according  to  the  eight  celebrated  church 
modes  introduced  by  Pope  Gregory  in  the 
sixth  century. 


DICTIONARY  OF  MUSICAL  TERMS. 


147 


Hold.  A  character  (st\)  indicating  that  the 
time  of  a  note  or  rest  is  to  be  prolonged. 

Hymn.  A  song  of  praise  or  adoration  to  the 
Deity;  a  short,  religious  lyric  poem  in- 
tended to  be  sung  in  church.  Anciently, 
a  song  in  honor  of  the  gods  or  heroes. 

Interval  (L,at.,  intervattum;  Ger.,  Intervall; 
Fr.,  intervalle;  It.,  intervallo.)  The  differ- 
ence in  pitch  between  two  tones.  The 
interval  is  counted  from  the  lowest  note  to 
the  highest. 

Intonation.  A  word  referring  to  the  proper 
emission  of  the  voice  so  as  to  produce  any 
required  note  in  exact  tune;  the  act  of 
modulating  the  voice.  The  chanting  of 
Plain-song. 

Jubildso  (It.)  yoo-be-/o-zo.)  Jubilant, 
exulting. 

Key.  The  lever  by  which  the  sounds  of  a 
pianoforte,  organ,  or  harmonium,  are  pro- 
duced. Also  an  arrangement  by  which 
certain  holes  are  opened  and  closed  in 
flutes,  oboes,  and  other  wind-instruments. 
A  key  also  means,  a  scale,  or  series  of 
notes  progressing  diatonically,  in  a  certain 
order  of  tones  and  semi-tones,  the  first 
note  of  the  scale  being  called  the  Key-note. 

Langsam  (Ger.)  (lang-sa,m  )  Slowly; 
equivalent  to  Largo. 

Largo  (It.)  (lar-go.)  A  s^ow  and  solemn 
degree  of  movement. 

Larynx.  The  upper  part  of  the  trachea.  It 
is  composed  of  five  annular  cartilages, 
placed  above  one  another  and  united  by 
elastic  ligaments,  by  which  it  is  so  dilated 
and  contracted  as  to  be  capable  of  varying 
the  tones  of  the  voice. 

Leading-note.  The  major  seventh  of  any 
scale;  the  semi-tone  below  the  keynote; 
the  major  third  of  the  dominant. 

Legato  (It.)  (le-gri-to.)  In  a  close,  smooth, 
graceful  manner;  the  opposite  to  staccato. 
It  is  often  indicated  by  a  sign  called  a 
slur  <• — ^. 

Lento  (It.)     Slow. 

Lied  (Ger.)  (leed.)     A  song;  a  ballad;  a  lay. 

Madrigal.  An  elaborate  vocal  composition, 
in  three,  four,  five,  or  six  parts,  without 
accompaniment,  in  the  strict  or  ancient 
style,  with  imitation;  the  parts  or  melodies 


moving  in  that  conversational  manner  pe- 
culiar to  the  music  of  the  sixteenth  and 
seventeenth  centuries.  The  madrigal  is 
generally  sung  in  chorus.  The  origin  of 
the  word  is  doubtful.  The  form  probably 
had  its  beginning  in  the  Netherlands.  It 
was  the  earliest  form  of  skilful  secular 
composition,  spite  of  one  or  two  canons 
which  bear  earlier  date.  One  character- 
istic of  the  madrigal  was  that  the  melody 
never  appeared  entire  in  any  one  voice.  It 
was  generally  unaccompanied. 

Maestoso  (It.)  (tna-es-ft>-zo.)  Majestic, 
stately,  dignified. 

Major.  Greater,  in  respects  to  intervals, 
scales,  etc. 

Measure.  That  division  of  time  by  which 
the  air  and  movement  of  music  are  regu- 
lated; the  space  between  two  bar  lines  on 
the  staff.  The  measure  is  often  miscalled 
a  bar,  but  the  terms  should  not  be  confused. 

Melodies.  That  department  of  vocal  ele- 
mentary instruction  which  relates  to  the 
pitch  of  tones. 

Meno  (It.)  (ma-no.)    Less. 

Metronom  (Ger.)  (met-ro-nom.)  )  A 
Metronome  (Gr.)  (mff-ro-«o-me.)  )  machine 
invented  by  John  Maelzel  (in  1815),  for 
measuring  the  time  or  duration  of  notes 
by  means  of  a  graduated  scale  and  pendu- 
lum, which  may  be  shortened  or  length- 
ened at  pleasure. 

Mezzo  (It  )  (met-tso.)     Medium,  half. 

Mezzo  forte  (It.)  (met-tso  ftjr-te.)  Mod- 
erately loud. 

Mezzo  piano  (It.)  (met-tso  pe-a-no.) 
Rather  soft. 

Mezzo  soprano  (It.)  (met-tso  so-prd-no.) 
A  female  voice  of  lower  pitch  than  the 
soprano,  or  treble,  but  higher  than  the 
contralto. 

Minor.  Less;  smaller;  in  speaking  of 
intervals,  etc. 

Modulation.  A  transition  of  key;  going 
from  one  key  to  another,  by  a  certain 
succession  of  chords,  either  in  a  natural 
and  flowing  manner,  or  sometimes  in  a 
sudden  and  unexpected  manner.  As  ap- 
plied to  the  voice,  modulation  means  to 
accommodate  the  tone  to  a  certain  degree 
of  intensity,  or  light  and  shade. 


148 


EDUCATIONAL  VOCAL  STUDIES. 


Mdlto  (It.)  (mol-to.)  Much;  very  much; 
extremely;  a  great  deal. 

Mdsso  (It.)  (mos-so.)      Moved,  movement, 

motion.       Meno    Mosso,    less  movement, 

slower.        Piu     Mosso,    more  movement; 
quicker. 

Motet.  )  a  sacred  composition  of  the  an- 
Motett.  )  them  style,  for  several  voices. 
The  words  are  taken  from  the  Scriptures. 
The  motet  is  generally  contrapuntal,  and 
it  is  possible  that  the  word  is  derived  from 
moto  (motion),  because  of  the  constant 
motion  of  all  the  parts. 

Motive.  The  characteristic  and  predomi- 
nant passage  of  an  air;  the  theme  or  sub- 
ject of  a  composition;  a  figure. 

Non  (It.)  (nun.)     Not,  no. 

Non  troppo  (It.)  (ndn  trop-po.)  Not  too 
much;  moderately. 

Notation.  The  art  of  representing  tones 
by  written  or  printed  characters. 

Obbligato  (It.)  (ob-ble-.g'a-to.)  Indispensa- 
ble, necessary;  &  part,  or  parts  which  cannot 
be  omitted,  being  indispensably  necessary 
to  a  proper  performance;  a  temporary  solo 
in  a  concerted  work,  often  misspelled 
Obligate. 

Octave.  An  interval  of  eight  diatonic 
sounds,  or  degrees;  also  the  name  of  an 
organ-stop. 

Opus  (Lat.)  (o-pus.)     )  Work,    composition; 

Opus  (Ger.)  (o-poos.)  )  as,  Op.  1,  the  first 
work,  or  publication  of  a  composer.  The 
numeration  of  musical  works  by  opus  num- 
bers began  in  the  last  part  of  the  eighteenth 
century.  Mozart  was  the  first  great  com- 
poser whose  works  have  an  occasional  opus 
number,  but  Beethoven  was  the  first  to  use 
this  mode  of  numeration  regularly.  Prop- 
erlj%  the  number  of  an  opus  refers  to  the 
order  of  publication,  not  of  composition. 
An  opus  may  include  several  numbers  or 
may  consist  of  a  single  piece. 

Oratorio  (It.)  (6r-a-£o-ri-o.)  Oratorio.  A 
species  of  musical  drama  consisting  of  airs, 
recitatives,  trios,  choruses,  etc.  It  is 
founded  upon  some  Scriptural  narrative, 
and  performed  without  the  aid  of  scenery 
and  action. 


Part-songs.  Songs  for  voices  in  parts,  an 
unaccompanied  choral  composition  for  at 
least  three  parts;  a  melody  harmonized  by 
other  parts  more  or  less  freely,  but  from 
which  counterpoint  is  for  the  most  part 
excluded.  The  part-song  owes  its  origin 
to  the  habit  prevalent  among  the  Germans 
of  adding  simple  harmonies  to  their  folk- 
songs. The  part-song  is  always  simpler  in 
construction  than  the  glee,  and  is  intended 
for  chorus. 


Passidne     (It.)      (pas-se-o-ne.) 
feeling. 


Passion, 


Passion  music.  Music  picturing  the  suf- 
ferings of  the  Saviour,  and  his  death.  Al- 
though originally  used  in  the  Catholic 
Church,  the  subject  became  a  favorite  one 
with  the  Protestant  German  composers. 
Bach  set  the  subject  several  times,  and  his 
'Passion  Music,  according  to  St.  Matthew," 
is  one  of  the  great  master-pieces  of  music. 

Pastoral.  A  musical  drama,  the  personages 
and  scenery  of  which  are  chiefly  rural.  A 
pastoral  is  also  any  lyrical  production,  the 
subject  of  which  is  taken  from  rural  life; 
and  the  Italians  give  the  same  name  to  an 
instrumental  composition  written  in  the 
pastoral  style. 

Pentatonic  scale.  A  scale  of  five  notes> 
sometimes  called  the  Scotch  scale,  and  sim" 
ilar  to  the  modern  diatonic  major  scales, 
with  the  fourth  and  seventh  degrees  omit- 
ted.    The  Chinese  also  use  this  scale. 

Phrase.  A  short  musical  sentence;  a  mus- 
ical thought  or  idea. 

Piano  (It.)  (pee-a-no. )     Soft. 


Pitch.  The  acuteness  or  gravity  of  any 
particular  sound,  or  of  the  tuning  of  any 
instrument.  Pitch  can  most  scientifically  - 
be  defined  as  the  rate  of  vibration.  Rapid 
vibrations  mean  a  high  tone,  slow  vibra- 
tions a  deep  one. 


Pdco  (It.)  {po-ko.)     Little. 

Presto  (It.)  (pres-to.)     Quickly,  rapidly. 

Psalm.     A  sacred  song  or  hymn. 

Quadruple.     Fourfold. 

Quartet  (Eng.)  (qu&r-tet.)    j  a   composition 
Quartett  (Ger.)  (qnav-tett.)  f  f or  four  voices 
or  instruments. 


DICTIONARY  OF  MUSICAL  TERMS. 


149 


Quasi  (It.)  (qud-zi.)  In  the  manner  of,  in 
the  style  of,  or  somewhat. 

Quintet.  A  composition  for  five  voices  or 
instruments. 

Rallentando  (It.)  (ral-len-tfiw-do.)   )   The 
Rallentato  (It.)  (ral-len-/d-to.)  )  time 

graduall}-  slower. 

Recitative,  (re-sl-tsb-teev.)  A  species  of 
musical  declamation  in  which  the  per- 
former rejects  the  rigorous  rules  of  time 
and  endeavors  to  imitate  the  inflections, 
accent,  and  emphasis  of  natural  speech. 
There  are  two  chief  kinds  of  recitative, 
the  free  (secco)  and  the  measured  {misurato 
or  stromentato).  The  free  is  without  tempo 
mark  and  with  only  a  few  chords  for  ac- 
companiment to  sustain  the  intonation. 
The  modulations  are  always  very  bold  and 
free.  Even  in  orchestral  works  the  free 
recitative  is  often  accompanied  merely 
by  piano.  The  measured  recitative  has 
tempo,  and  full  accompaniment,  and  is 
like  a  fragment  of  a  song. 

Refrain.  The  burden  of  a  song;  a  ritornel; 
a  repeat. 

Rhythm  (Eng.)  (rithm.)  The  division  of 
musical  ideas  or  sentences  into  regular 
metrical  portions;  musical  accent  and  ca- 
dence as  applied  to  melody.  Rhythm 
represents  the  regular  pulsation  of  music. 
The  word  time  is  constantly  applied  where 
rhythm  is  meant.  Thus  we  have  common 
time,  two-quarter  time,  etc. ,  which  have 
nothing  to  do  with  the  tempo  of  the  music. 
In  this  book  we  have  most  frequently 
replaced  the  misuse  of  the  word  time  by 
the  more  correct  name  rhythm.  It  is 
possible  that  the  word  measure  might  also 
replace  the  more  faulty  expression.  Three- 
quarter  measure  would  express  much  more 
than  three-quarter  time.  While  we  deem  it 
impossible  to  change  every  misnomer  in 
music,  we  believe  that  a  beneficial  change 
is  possible  in  this  instance.     See  Time. 

Ritardando  (It.)  (ri-tar-daw-do.)  Retard- 
ing; delaying  the  time  gradually. 

Round.  A  species  of  canon  in  the  unison, 
or  octave;  also  a  vocal  composition  in 
three  or  more  parts,  all  written  in  the 
same  clef,  the  perfomers  singing  each  part 
in  succession.  They  are  called  rounds 
because  the  performers  follow  one  another 
in  a  circulatory  motion,  and  as  they  gen- 
erally have  no  cadence  they  move  around 
without  cessation,  like  an  infinite  canon. 


Rubato  (It.)  (voo-bah-to.)  Robbed,  stolen; 
taking  a  portion  of  the  duration  from  one 
note  and  giving  it  to  another. 

Scale  (Ivat.,  Scala;  Ger.,  Tonleiter;  Fr., 
Echelle;  It.,  Scala).  The  successson  of 
tones  upon  which  any  music  is  built.  The 
scales  of  different  epochs  and  nations 
differ  quite  as  much  as  their  languages. 
It  is  impossible  to  demonstrate  scientifi- 
cally (by  any  laws  yet  discovered)  the 
reason  of  the  subdivisions  made  in  some 
scales.  The  scale  seems  to  have  been,  like 
the  art  of  music  itself,  an  invention  of 
man,  which  did  not  always  seek  a  founda- 
tion in  scientific  laws.  We  cannot  prove 
that  the  scales  which  we  employ  are  better 
than  those  used  by  other  races  or  at  other 
epochs. 

Scherzando  (It.)  (sker-tsdn-do.)  Playful, 
lively,  sportive,  merry. 

Septet  (Eng.)  se^-tSt. )  A  composition  for 
seven  voices,  or  instruments. 

Sforzando  (It.)  (sior-tsan-do  )  Forced;  one 
particular  chord,  or  note,  is  to  be  played 
with  force  and  emphasis. 

Sharp  (Ger.,  Kreuz;  Fr.,  Diese;  It.,  Diesis.) 
The  sign  jt,  which  occurring  either  before  a 
note  or  in  the  signature,  raises  the  pitch 
of  a  tone  one  chromatic  semi-tone.  The 
sign  had  its  origin  in  a  St.  Andrew's  cross 
X  which  was  used  in  the  notation  of  the 
middle  ages.  See  Accidentals  and  Chro- 
matic signs. 

Slur  (Ger.,  Legatobogen;  Fr.,  liaison;  It., 
legatura.)  A  curve  drawn  over  or  under 
two  or  more  notes,  signifying  that  they 
are  to  be  executed  legato.  The  slur  over 
two  notes  is  called  the  short  slur.  The 
slur  first  appeared  in  notation  in  connec- 
tion with  violin-music,  and  was  used  to 
show  how  many  notes  were  to  be  executed 
with  a  single  stroke  of  the  bow.  Soon 
after  this  it  was  also  admitted  into  vocal 
notation  to  indicate  the  number  of  notes 
to  be  sung  in  a  single  breath.  It  is  almost 
impossible  to  give  absolute  rules  for  the 
execution  of  the  slur,  there  are  so  many 
exceptions.  Yet  the  following  rules  may 
apply  in  general  cases:  1.  When  two 
notes  of  small  denomination  (quarter-notes 
or  less)  are  connected  by  a  slur,  the  first 
note  is  generally  accented,  the  second 
played  lightly;  the  tone  of  the  first  is  to 
overlap  into  that  of  the  second  note;  and 


150 


EDUCATIONAL  VOCAL  STUDIES. 


the  second  note  is  frequently  shortened. 
This  example, 


would  often  be  played  thus: 


2.  When  the  slurred  notes  are  of  a  longer 
denomination,  the  second  is  not  generally 
shortened.  3.  When  the  second  note  is 
longer  than  the  first,  the  effect  of  the  slur 
is  often  nothing  more  than  a  legato  mark. 
4.  In  vocal  music,  both  long  and  short 
slurs  are  often  used  merely  to  show  how 
many  notes  are  to  be  sung  to  a  single 
syllable.  The  long  slur  (over  more  than 
two  notes)  is  frequently  a  very  indefinite 
sign.  It  is  one  of  the  most  vague  signs  in 
piano-music,  often  merely  indicating  a 
legato  execution,  and  not  the  phrasing. 
In  vocal-music  it  is  used  properly  as  a 
phrasing  and  breathing-mark,  but  it  is 
impossible  to  formulate  any  rules  that  will 
cover  the  contradictory  uses  of  the  long 
slur  in  piano-music. 


Solo  (It.)  (so-lo.) 
Solo  (Fr.)  (so-lo.) 
Solo  (Ger.)  (so-lo.) 


A  composition  for  a 
single  voice,  or  in- 
strument. 


Song-.  1.  (Ger.,  Gesang;  Fr. ,  chant;  It., 
canto.)  Vocal  musical  expression  or  utter- 
ance. 2.  (Ger.,  Lied;  Fr.,  chanson;  It., 
canzone.)  A  lyrical  poem  set  to  music. 
The  song  deals  with  emotions;  the  ballad 
tells  a  story.  Song  form  is  a  musical  form 
originally  derived  from  vocal  music.  (See 
Form.)  Folk-song  is  a  simple  song  (fre- 
quently a  ballad)  which  is  popular  with 
the  common  people.  Songs  are.  chiefly 
of  two  styles  of  composition.  1st.  The 
strophe  form  in  which  the  music  is  set  to 
the  first  stanza  and  then  repeated  to  each 
succeeding  stanza.  2d.  The  art-song  (or 
through- composed — Durch  componiert  style) 
in  which  each  stanza  receives  separate 
musical  treatment  according  to  its  con- 
tents. 

Soprano  (It.)  {so-pra-no.)  The  treble;  the 
highest  kind  of  female  voice;  a  treble,  or 
soprano  singer.  The  soprano  is  the  high- 
est part  in  concerted  vocal  music,  and 
carries  the  air,  or  melody,  in  any  modern 
composition    that    presents    harmony,    or 


counterpoint.  But  this  was  not  always 
the  case.  In  the  early  days  of  counter- 
point it  gave  support  to  the  melody,  which 
always  lay  in  the  tenor.  See  Tenor.  It 
was  then  called  "Discantus,"  which  indi- 
cated that  it  was  "against  the  melody," 
and  not  the  melody  itself. 


Spirit,      life, 


Spirito     (It.)      (spi-re-to.) 
energy. 

Staccato  (It.)  (stiik-M-to.)     Detached;  dis- 
tinct; separated  from  each  other. 

Staccato  marks.      Small    dots    or    dashes 
placed  over  or  under  the  notes,  thus: 


PN^^ 


The  wedge-shaped  marks  are  shorter  than 
the  dots,  but  are  little  used  by  modern 
composers. 

Staff.  The  five  horizontal  and  parallel 
lines  on  and  between  which  the  notes  are 
written. 

Stem.  The  thin  stroke  which  is  drawn 
from  the  head  of  a  note. 

Stringendo  (It.)  (stren-gew-do.)  Pressing, 
accelerating  the  time: 

Syncopation  (Eng.)  An  unequal  division 
of  the  time,  or  notes;  irregular  accent, 
binding  the  last  note  of  one  bar  to  the 
first  note  of  the  next;  accented  notes 
occurring  on  the  unaccented  part  of  a  bar. 
Syncopation  is  an  artificial  accent,  an 
interruption  of  the  natural  pulsation  of 
the  music.  It  can  be  produced  by  giving 
an  accent  where  none  is  expected,  by 
taking  away  the  accent  from  a  point  where 
it  is  expected,  or  by  both  methods  com- 
bined. The  natural  rhythm  must  be  re- 
stored after  the  syncopation  has  been  used 
for  a  short  time,  otherwise  the  ear  will 
accept  the  artificial  accent  as  a  natural 
one  and  the  effect  of  syncopation  be  lost. 
Syncopations  in  accompaniments  must  be 
strong  to  be  effective. 

Tempo  (It.)  (tem-po.)  The  Italian  word 
for  time.  Tempo  is  rather  loosely  defined 
as  the  speed  of  the  music,  but  it  ought 
rather  to  be  regarded  as  the  speed  of  the 
rhythm,  the  rapidity  with  which  the  nat- 
ural accents  follow  each  other. 


DICTIONARY  OF  MUSICAL  TERMS. 


151 


Tenor.  That  species  of  male  voice  next 
above  the  baritone,  and  extending  from 
the  C  upon  the  second  space  in  bass,  to  G 
on  the  second  line  in  the  treble.  So- 
called  from  teneo  (I  hold),  since  it  held  the 
melody  in  old  times.     See  Soprano. 

Tetrachord  (Gr.)  (#tf-ra-kord.)  A  fourth; 
also,  a  system  of  four  sounds  among  the 
ancients,  the  extremes  of  which  were 
fixed,  but  the  middle  sounds  were  varied 
according  to  the  mode. 

Time.  The  measure  of  sounds  in  regard 
to  their  continuance,  or  duration.  The 
speed  of  the  rhythm.  The  rapidity  with 
which  the  natural  accents  follow  each 
other.  This  is  the  correct  meaning  of 
time. 

Tonic  Sol-fa.  A  method  of  teaching 
vocal  music,  invented  by  Miss  Sarah  Ann 
Glover,  of  Norwich,  England,  about  1812 
(called  by  her  the  tetrachordal  system), 
and  afterwards  perfected  by  the  Rev.  John 
Cur  wen,  who  became  acquainted  with  the 
method  in  1841.  Its  formal  basis  is  the 
movable-do  system;  the  seven  usual  solmi- 
zation  syllables  are  employed,  as  follows; 
doh,  ray,  me,  fah,  soh,  lah,  te.  The  reason 
for  this  departure  from  the  ordinary  spell- 
ing is,  that  the  above  is  considered  easier 
for  English  people  to  pronounce.  In 
printing  music,  the  initial  letter  of  the 
syllable  indicates  the  scale  note.  Si  and 
soh  having  the  same  initial,  the  former  is 
altered  to  te.  Higher  or  lower  octaves  are 
shown  by  figures  placed  by  the  side  of  the 
notes,  dl,  d' ,  ms ,  and  sx,  m2,  d2.  The 
particular  pitch  of  the  key-sound  is  shown 
by  the  statement  at  the  beginning  of  the 
piece,  key  G,  key  E  P,  key  A,  etc.  The  mi- 
nor mode  is  regarded  as  derived  from  the 
relative  major,  its  tonic  being  called  lah. 

Transition  (Eng.)  Passing  suddenly  out 
of  one  key  into  another,  also  a  passage 
leading  from  one  theme  to  another. 


Treble.  The  upper  part;  the  highest  voice; 
the  soprano;  that  which  generally  contains 
the  melody. 

Triad.  The  common  chord,  consisting  of  a 
note  sounded  together  with  its  third  and 
fifth. 

Trio  (It.)  (tree-o.)  A  piece  for  three 
instruments,  or  voices.  The  word  trio  is 
also  applied  to  a  contrasted  song-form  in 
the  minuet  form  of  composition. 

Triplet.  A  group  of  three  notes,  played 
in  the  usual  time  of  two  similar  ones. 

Tutti  (It.)  (too-te.)  All,  the  entire  band, 
or  chorus;  in  a  solo,  or  concerto,  it  means 
that  the  full  orchestra  is  to  come  in. 

TJnison.  An  accordance  or  coincidence  of 
sounds  proceeding  from  an  equality  in  the 
number  of  vibrations  made  in  a  given 
time  by  a  sonorous  body;  a  tone  that  has 
the  same  pitch  with  another. 

Vespers.  Name  of  the  last  evening  service 
in  the  Roman  Catholic  Church,  consisting 
chiefly  of  singing. 

Vivace  (It.)  (ve-#a-tshe.)  Lively,  briskly, 
quickly. 

Vivo  (It)  (we-vo. )  Animated,  lively, 
brisk. 

Vocalize.  To  practice  vocal  exercises  us- 
ing the  vowels  and  the  letter  A,  sounded 
in  the  Italian  manner,  for  the  purpose  of 
developing  the  voice,  and  of  acquiring 
skill  and  flexibility. 

Vocalizes.  Solfeggios;  exercises  for  the 
voice,  also  Vocalises. 


152 


'    EDUCATIONAL  VOCAL  STUDIES. 

Abbreviations  and  Signs. 

NOTE. — See  Dictionary  in  this  book  for  definitions. 


accel. 

accelerando. 

j 

brace. 

',  v 

breath  marks. 

4 

cancel  (natural.) 

cal. 

calando. 

n 

C  clef. 

C.  M. 

Common  Metre. 

C.  M.  D. 

Common  Metre  Double 

cres.  ) 

crescendo. 

D.   C. 

de  capo. 

dim.  } 

diminuendo. 

tttt.  *>   x 

double  sharp. 

D.  S. 

dal  segno. 

t>b 

double  flat. 

9: 

F  clef. 

t> 

flat. 

f 

forte. 

ff 

fortissimo. 

fff 

fortississimo. 

fp 

forte  piano. 

fz,   sf,  ) 
sfz,   \) 

(  forzando. 
(  sforzando. 

G  clef. 


H.  M. 

Hallelujah  Metre. 

/T\ 

hold  or  pause. 

L. 

left. 

L.  M. 

Long  Metre. 

L.  M.  D. 

Long  Metre  Double. 

M.  M. 

Maelzel's  Metronome 

> 

marcato  (accent). 

mf 

mezzo  forte. 

mp 

mezzo  piano. 

MS. 

manuscript. 

Op. 

opus  (work). 

P.   M. 

Particular  Metre. 

P 

piano. 

PP 

pianissimo. 

PPP 

pianississimo. 

Rail. 

rallentando. 

Recit. 

Recitative. 

Rit. 

{  Rritardando. 
(  ritenuto. 

S.  M. 

Short  Metre. 

S.  M.  D. 

Short  Metre  Double. 

ft 

sharp. 

:S: 

sign. 

, — . 

slur  or  tie. 

stacc-  I  staccato. 

staff. 

-==r  z=-       swell. 

ten.  or  —     tenuto  (sustained). 

tr.  or  tr~^    trillo. 


GENERAL  INDEX. 


Titles  in  Romans,  First  I,ines  in  Italics.    When  Titles  and  First  Lines  are  alike,  Capitals. 
Songs  marked  *  are  in  Part  One  among  the  graded  studies. 


Abbreviations  and  signs 

ACKNOWLEDGE  ME,  MY  KEEPER. 

A  dream  at  eventide 

All  hail  the  power  of  Jesus'  name 

Almost 

Almost  persuaded 

Analytic  index,  Part  Two 

ANEW  WE  LIFT  OUR  SONG 

*At  sunset 

*  Awake,  my  soul,  stretch  every  nerve 


Balmy  southern  breezes 

BEAUTIFUL  FLOWERS  . . 
Be  not  swift  to  take  offense  . . . 
Blow,  blow,  thou  winter  wind. 


Cheerful  faces 

*Choral  (52  d.) 

Come  away  to  the  meadows  fair. . 
Come,  O  come  with  cheerful  faces. 

Contents,  Grade  One 

Contents,  Grade  Two 

Contents,  Grade  Three 

Contents,  General 

Contents,  Part  Three 

Crown  Him  Lord  of  all 


152 
101 
88 
79 
83 
83 
68 
85 
50 
43 

78 

71 

87 

111 

70 
60 

106 
70 

viii 
14 
44 
vii 

114 
79 


Dream  at  eventide,  a 88 

Dictionary  of  musical  terms 143 

*Erie 27 

Evening  bells 102 

*  Fierce  was  the  wild  billow 42 

*Forte  staccato. 62 


Give  to  God,  O  nations  great 77 

GOD  IS  MY  SONG 97 

*GOOD-MORNING,     MERRY      SUN- 
SHINE    25 

Good-night 80 

Grade  One  studies 1 

Grade  Two  studies 15 

Grade  Three  studies 45 

Happy  time  of  youth 106 

Haste  to  the  rescue 98 

Holy,  heavenly  thoughts  attend  you 80 

*How  do  you  like  to  go  up  in  a  swing .....  51 

/  am  thinking  tonight 108 

*I    LOVE    THE    CHEERFUL    SUM- 
MER-TIME   54 

Ingratitude Ill 

In  from  the  highway 102 

*In  the  heart  of  a  seed 29 

Is  the  way  before  you  fraught 72 

/  sit  alone  at  eventide 88 

/  sit  and  watch  the  golden  stars 109 

/  was  once  in  sin  and  far  from  God 89 


Jewels 


94 


*Kind  hearts  are  the  garden 23 

*Leo 42 

Let  it  pass 87 

LITTLE  EYES 96 

Little  snowflake 99 

LO,  HOW  A  ROSE  E'ER  BLOOMING  86 

LOVELY  MAY 76 


(153) 


f 


154 


EDUCATIONAL  VOCAL  STUDIES. 

General  Index. 


Make  a  joyful  noise 92 

Merry  spring,  the 105 

*Moderato  (54.) 62 

*Morning  hymn 43 

*Music  everywhere 66 

My  far-away  home 108 

National  song  of  praise 77 

*Newton  ferns 10 

NOW  MAY  THE  WILL  OF  GOD  BE 

DONE 113 

0,  a  goodly  thing  is  the  cooling  spring 105 

O  GENTLE  SAVIOUR 76 

O  God  of  all  the  ages 104 

Olden  memories 109 

O  LOVE  DIVINE 82 

*On  a  snowy  day 31 

*One  sweetly  solemn  thought 27 

ONWARD,  CHRISTIAN  SOLDIERS..  100 

Pealing  slow,  soft  and  low 102 

Pretty  little  snowflake 99 

PURER  YET  AND  PURER 90 

*Raindrops,  the 6 

Rudimentary  statements  begin 115 

Rudimentary  statements,  contents 114 

Scales,  Major  and  Minor 130 

*SLEEP,  BABY,  SLEEP 48 

Slumber  soft,  little  one 112 

Slumber  song 112 

*Soft  blows  the  western  wind 35 

SOFT  THE  EVENING  FALLS 74 

SOFT  FADES  THE  TWILIGHT  RAY.  87 

*Softly  sighs  the  evening  breeze 50 


SOFTLY  SIGHS  THE  VOICE 96 

SONGS  OF  JOY  AND  GLADNESS ....  90 

SPEAK  GENTLY 69 

*Spring  is  come 65 

Spring  is  here 78 

SWEET  AND  LOW 72 

Sweetest  hosannas 102 

*Swing,  the 51 

TAKE  THE  SAVIOUR  WITH  YOU. . .  94 

Thanksgiving  carol 92 

*Thanksgiving  song 13 

*The  apples  have  been  gathered. 13 

The  merry  spring 105 

*The  raindrops 6 

*The  ram  has  spoiled  the  farmers'  day.  ...  19 

*The  swing 51 

*The  wind's  song 35 

THERE!  LITTLE  GIRL;  DON'T  CRY  110 

There  is  music  in  my  soul 89 

*There  is  music  in  the  breeze 66 

They  are  drifting  away t 98 

Thou  hast  never  forgotten 104 

TWILIGHT  IS  STEALING 84 

*  Up  then  with  speed  and  work 39 

Upward  look 72 

Voice  culture 138 

Voice  exercises 140 

When  He  cometh  to  make  up  His  jewels. . .     94 
WHEN   I   IN   PAIN    AND    SORROW 

MOAN 112 

*Wind's  song,  the 35 

*Wine  is  a  turn-coat 56 

*  Ye  coax  the  timid  verdure 65 


Typography  by 
Anderson  Bros., 
Chicago,  -  -  111. 


